MUSE, Jessica Michault
Thanks to Launchmetrics, this journalist makes the connection between fashion and technology. Welcome to a new era.
This article first appeared on Monnier Freres.
Thanks to Launchmetrics, this journalist makes the connection between fashion and technology. Welcome to a new era.
How did you become a fashion journalist?
I started at the International Herald Tribune when I was 23 and worked for about a year as a research assistant. Then the job of Suzy’s assistant opened up. I applied not knowing anything about fashion, nor who Suzy Menkes was… and got the job! Suzy is the best in the business and being able to be trained by her for over 16 years has been one of the biggest gifts in my life. I’ve learnt from her to be authentic, to be honest, to speak your truth, to have integrity and to write a great critic!
You were at the forefront of digital fashion when you earned your title of digital fashion editor at the publication in 2007. How has digital journalism evolved since you started?
I really feel so lucky to have lived in a time when I got to see the old way of doing journalism, see the evolution and helping Suzy along with that. At the beginning when you were writing, there was nothing to go back and forth. And then we started to post online and have comments. That was the first kind of connection. Today everything has become like a two-way conversation between you and your readers. Which is great. It’s great to have this feedback. You can pick up right away what people are resonating with.
Monnier Freres
We often say people read less today. Do you think it’s true?
It’s absolutely true. The future of our industry, and many industries, is much more vocal and visual. The perfect example is when I started doing my reviews, when I was the editor-in-chief of Antidote Magazine. I wrote them out and I got very little resonance. People did not talk about it. When Instagram made it possible to do a one-minute video I thought: “Ok, I will switch this up and do audio with the video”. And things just changed.
From one day to the next, people were like “I love your 60 Second Reviews, I love how you’re pulling it out together…” As people are reading less, there’s a desire to listen more. People are listening to podcasts when they’re doing their laundry or driving their cars.
So, can fashion magazines still exist in this environment?
The company I work with now as editor-at-large, ODDA Magazine, is a bi-annual with 4000 words articles. It’s more like a keepsake, a reference point to go back and say “Ok this is how it was at this point in fashion and these are the people who are shaping fashion at that moment”. With podcasts it’s more about being able to go behind the scenes and really get to know designers. It’s a way to bring everybody into that world and experience first-hand the amazing people who are shaping this industry. Olivier Rousteing, Julie de Libran… You hear them laughing and you hear them talking… that’s so precious. I think there is always gonna be a place for the written words, it’s never gonna go away. It’s evolving.
Tell us about Launchmetrics and GPS Radar…
Launchmetrics is a marketing platform that helps different brands to find the voices they want to work with, then benchmark the success of the projects they put together. Within that, there is GPS Radar. It’s a free private members-only website where members can RSVP to all of the shows, ask for show tickets, do moodboards, see the galleries of all the fashion shows (and not just for fashion capitals), see press releases and post news about what they are doing. It’s kind of a Linkedin for the fashion industry.
Launchmetrics works a lot with influencers. How is this kind of marketing evolving?
I think there’s a shift. It used to be about how many followers you had and now it’s really about engagement. Even if you have a smaller amount of followers, if they really talk to you and engage with what you say, you have a lot more impact. In that way I think we’re gonna see the micro-influencers coming up and brands wanting maybe partner with them more than with bigger ones. You can sometimes get more activations with a small influencer than you can have with Kendall Jenner. And you might have an actual return and get sales out of that. Specifically, with Millenials and Gen-Z’s, it’s all about that connection, feeling that’s a real and authentic partnership.
Monnier Freres
What are your three best addresses in Paris?
I like to have lunch and breakfast meetings at Sunday in Soho. That’s close to my office and the menu is divine. I buy my jewellery at White Bird. I really love the collections there. And there’s a facialist that I love, named Sophie Carbonari. She makes this amazing facial that makes you look ten years younger.
You chose to set up this interview at the Hôtel des Grands Boulevards. Why?
It’s literary two minutes from my office, it’s also by convenience. But it’s a beautiful place, it’s lovely, so why not?
You travel a lot. What are the things you take with you everywhere?
I have photos of my kids, my three daughters, with me all the time. I have this little Lanix (that’s a tiny speaker), my cashmere sweat suit and this beautiful embroidered wrap that I bought in India when I was with Suzy. That’s a cherished piece. It dresses anything up. Oh, and red lipstick! If I’m tired or whatever I put on a red lip and I’m good to go.
What is your best fashion memory?
Oh my God there are so many! I can tell you the moment I knew I wanted to work in fashion was when I went to see a young designer who was just starting at Guy Laroche. It was Alber Elbaz and that was amazing. The Dior shows at Versailles were amazing. When John (Galliano, ndlr) was doing Dior, the shows were epic… Going to the final show for Yves Saint Laurent himself, was a phenomenal moment…
What is your favourite place in Paris during Fashion Week?
The Mini Palais. I just go and work in-between the shows.
What is the first fashion accessory you ever possessed?
A Fendi Baguette Bag!
What is the latest accessory you bought?
A pair of Charlotte Chesnais earrings.
What is your go-to accessory?
My hair combs!
High heels or flats? Why?
Flats, I’m running from one show to the other. I’ve got to get around fast. Specifically, I live in Valentino’s espadrilles.
Monnier Freres
Cet article est d'abord paru sur Monnier Freres.
Avec Launchmetrics, cette journaliste se penche aujourd’hui plus avant sur la relation entre mode et technologie. Rencontre.
Comment êtes-vous devenue journaliste mode?
J’ai débuté au International Herald Tribune lorsque j’avais 23 ans et pendant près d’un an, j’ai travaillé en tant qu’assistante recherches. Puis, le poste pour assister Suzy est paru. J’ai postulé sans rien connaître à la mode, sans savoir qui était Suzy Menkes… et j’ai eu le job! Suzy est la meilleure et l’avoir eue comme mentor pendant plus de 16 ans est l’un des plus beaux cadeaux que la vie m’ait fait. Elle m’a appris à être authentique, honnête, franche, intègre et comment écrire de super critiques !
Vous avez été nommée digital fashion editor au Herald Tribune en 2007. Comment le métier a-t-il évolué depuis vos débuts ?
Je suis tellement chanceuse d’avoir connu la vieille école du journalisme, d’avoir pu observer son évolution tout en épaulant Suzy. Au départ, il y avait peu d’échange. Puis, nous avons commencé à poster les critiques en ligne et recevoir des commentaires. C’était le premier genre de connexion. Aujourd’hui, il s’agit vraiment d’une conversation entre vous et vos lecteurs, ce qui est super. C’est super d’avoir ce retour. Vous pouvez analyser directement ce qui résonne chez les gens.
Monnier Freres
On dit souvent que les gens lisent moins. Est-ce vrai selon vous ?
C’est absolument vrai. Le futur de notre industrie, de plusieurs industries à vrai dire, est plus vocal et visuel. Le meilleur exemple date de lorsque j’étais rédactrice en chef du magazine Antidote. J’ai écrit mes critiques et n’ai eu que peu de retours. Les gens n’en parlaient pas. Lorsque Instagram a donné la possibilité de créer des vidéos d’une minute, j’ai pensé : « Ok, je vais le détourner et ferai de l’audio sur la vidéo ». Et tout a changé.
Du jour au lendemain, on m'a dit : « J’adore vos 60 Second Reviews, j’aime la manière dont elles sont montées… ». Alors que les gens lisent de moins en moins, il y a de plus en plus de demande pour des formats audios. Ils téléchargent des podcasts qu’ils écoutent pendant qu’ils font la lessive ou qu’ils conduisent.
Les magazines peuvent-ils encore exister dans cet environnement ?
ODDA, pour qui je travaille aujourd’hui en qualité d'editor-at-large, est un magazine biannuel qui publie des articles de 4000 mots. C’est plus une sorte de memento, de point de référence vers lequel se retourner pour dire « Ok, donc c’est à ça que ressemblait la mode à ce moment-là et ce sont les gens qui la façonnaient. » Avec les podcasts, il y a une possibilité de passer en coulisses, de connaître réellement les designers. C’est une manière de faire entrer tout le monde dans cet univers afin de leur faire découvrir directement les incroyables figures qui font la mode. Stephen Jones, Olivier Rousteing, Julie de Libran… Vous les entendez rire, vous les entendez parler… c’est précieux. Je pense qu’il y aura toujours une place pour l’écriture, elle ne disparaîtra jamais. Elle évolue.
Parlez-nous de Lauchmetrics et GPS Radar…
Launchmetrics est une plateforme marketing qui aide les marques à identifier les acteurs avec lesquels elles veulent collaborer, puis mesure le succès des projets qu’ils mettent en place ensemble. A côté de cela, il y a GPS Radar. C’est un site gratuit qui permet à ses membres de RSVP aux défilés, demander des invitations pour les shows, constituer des moodboards, voir les galeries de tous les défilés (et pas seulement ceux des grandes capitales de la mode), consulter des communiqués de presse et poster des updates sur leur activité. C’est un peu comme un Linkedin pour l’industrie de la mode.
Launchmetrics travaille avec beaucoup d’influenceurs. Comment ce genre de marketing évolue-t-il ?
Je pense que les choses bougent. Avant il était uniquement question de votre nombre de followers. Maintenant, on parle plus d’engagement. Même si vous avez un taux de followers moins important, s’ils vous parlent réellement et répondent à vos campagnes, vous avez beaucoup plus d’impact. Par conséquent, je pense que le profil des micros-influenceurs va gagner en importance et que les marques auront peut-être plus envie de travailler avec eux qu’avec de gros acteurs.
Parfois, vous obtenez plus de résultats avec un petit influenceur que vous n’en auriez eu avec Kendall Jenner. Vous pouvez avoir plus de retours et convertir en ventes. C’est précisément le cœur du business avec les Millenials et la Génération Z : tout est question de connexion, de sentir qu’il s’agit d’un partenariat authentique.
Monnier Freres
Quelles sont vos trois meilleures adresses à Paris ?
J’aime prendre mes déjeuners et petits déjeuners professionnels chez Sunday in Soho. C’est proche de mon bureau et le menu est divin. J’achète mes bijoux chez White Bird. J’aime beaucoup leurs collections. Et il y a cette visagiste que j’adore nommée Sophie Carbonari. Elle a le secret d’un soin qui vous fait paraître dix ans plus jeune.
Vous avez choisi de nous rencontrer à Hôtel des Grands Boulevards. Pourquoi ?
C’est littéralement à deux pas de mon bureau, c’est aussi par confort. Mais c’est un bel endroit, agréable, donc pourquoi pas ?
Vous voyagez beaucoup. De quoi ne pouvez-vous pas vous passer ?
Les photos de mes trois filles ne me quittent jamais. J’ai aussi toujours avec moi ce petit Lanix (une minuscule enceinte), mon ensemble en cachemire et un magnifique châle brodé que j’ai acheté en Inde lorsque j’y suis allée avec Suzy. Je l’adore, il arrange tous les looks. Oh, et un rouge à lèvres rouge ! Si je suis fatiguée, je mets une touche de rouge et je suis prête!
Quel est votre meilleur souvenir mode ?
Oh mon Dieu il y en a tellement ! Je peux vous dire que j’ai su que je voulais travailler dans la mode le jour où je suis allée voir un jeune designer qui débutait chez Guy Laroche. C’était Alber Elbaz et c’était superbe. Les défilés Dior à Versailles étaient magnifiques. Quand John [Galliano, ndlr] était à la tête de la maison, les shows étaient épiques… Le dernier défilé d’Yves Saint Laurent lui-même était aussi un moment phénoménal…
Votre endroit préféré durant la Fashion Week ?
Le Mini Palais. C’est super. J’y vais et je travaille entre deux défilés.
Le premier accessoire que vous ayez possédé ?
Un sac Fendi Baguette !
Le dernier accessoire que vous ayez acheté ?
Une paire de boucles d’oreilles Charlotte Chesnais.
Votre accessoire fétiche ?
Mes peignes !
Talons hauts ou chaussures plates ?
Chaussures plates ! Je cours d’un show à l’autre, j’ai besoin de me déplacer rapidement. Je suis accro aux espadrilles Valentino.
Monnier Freres
Jessica Michault, La Pupila de Suzy Menkes
La pupila aventajada de Suzy Menkes es una de las plumas con más poder en la moda.
This article first appeared on L’Officiel Spain by Noelia Terrón Laya
La pupila aventajada de Suzy Menkes es una de las plumas con más poder en la moda.
La pupila aventajada de Suzy Menkes es una de las plumas con más poder en la moda.
Es toda una institución dentro del periodismo de moda de los últimos 20 años. Su rúbrica y su visión creativa la han llevado a algunos de los medios más influyentes: desde Vogue Italia, a The New York Times, Showstudio o Vogue Japón. Enviar un currículum al International Herald Tribune cambió no solo su trayectoria profesional (había estudiado Ciencias Políticas e iba para alcaldesa de su ciudad natal en California), sino también su vida: durante 16 años trabajó a las órdenes de Suzy Menkes, de quien dice haber aprendido todo de esta profesión. Hablar con ella es como ir abriendo un juego de muñecas rusas en el que va desgranando momentos definitorios de su carrera, como el desfile de un joven diseñador llamado Alber Elbaz, o anécdotas de desfiles como el Diorient Express de John Galliano para Dior, que comenzaba con un inmenso tren de vapor entrando de manera imponente en la estación de Austerlitz de París ante la mirada atónita de los editores de moda de medio mundo. Hoy, Jessica es un ejemplo de sinergia entre el periodismo clásico y las nuevas tecnologías. Al final, todo se reduce a su pasión: descubrir nuevos talentos en moda y darlos a conocer al mundo.
¿Cuál es la primera imagen icónica que quedó grabada en su retina?
La primera que recuerdo es un collar de oro de mi madre con el que solía jugar de pequeña, es una imagen muy poderosa que asocio con ella. Ya más relacionado con la moda, cuando era joven tenía un póster con la imagen Dovima with elephants que fotografió Richard Avedon en 1955. La modelo lleva una de las primeras creaciones que realizó Yves Saint Laurent para Christian Dior. La imagen me acompañó durante décadas. En blanco y negro, en ella se establece un equilibrio perfecto entre la fuerza de los elefantes con la fuerza de la mujer.
Fotografía Alex Brunet
Elephants by Avadon
¿Quiénes son los iconos de estilo más importantes en su vida?
Hay quien echando un vistazo a mi peinado inmediatamente exclamaría: “¡Suzy Menkes!” Algo de ella que me encanta es que solía decir que podías llevar lo que quisieras, pero siempre tenías que lucir una chaqueta fantástica que resaltara y diese sentido al conjunto. También me impresionan mucho las mujeres, como usted, que sabe llevar un lipstick rojo como algo natural. Es algo que nunca consigo. Mi manera de vestir es bastante sobria, así que siempre experimento más con el peinado. Procuro ser bastante discreta con la ropa. Cuando trabajas en el mundo de la moda es necesario ser comedido, mantenerse neutro: no debe notarse si llevas prendas de un determinado diseñador. Cuando comencé a dar mis pasos en la industria, mucho antes de la figura del blogger o el influencer, había personas que asistían a un desfile, como Loulou de la Falaise, que eran creativos en su manera de expresarse pero no iban vestidos de una marca de arriba abajo ni nadie les regalaba ropa. Era una manera de expresar su gusto estético y su personalidad, y era maravilloso.
“Suzy Menkes hizo que surgiera en mí la necesidad de escribir y el gusto por la moda. Fue una grandísima profesora”
¿Cuándo decidió que lo suyo era escribir?
En la universidad estudié Ciencias Políticas porque estaba decidida a ser la alcaldesa de la pequeña ciudad en California donde nací y crecí. Pero en mi camino se cruzó un hombre maravilloso al que seguí a París. Entonces envié mi currículum al Herald Tribune, me contrataron y terminé siendo la asistente de Suzy Menkes. Ella hizo que surgiera en mí la necesidad de escribir y el gusto por la moda. Fue una grandísima profesora. Lo principal no era tanto el escribir, sino el hecho de poder conocer tantos jóvenes diseñadores desconocidos. Era la época en que Internet no tenía tanto peso, y el Herald Tribune te permitía estar al día de los creadores con más talento. Lo que más me gustaba de mi trabajo era poder compartir con el mundo estos descubrimientos tan maravillosos, más que el hecho de escribir en sí. Porque soy malísima deletreando, ¡no podría hacerlo bien aunque me fuera la vida en ello!
¿Cómo es su proceso para plasmar en palabras algo tan visual como es la moda?
Cuando empecé, la moda era menos democrática y el acceso a imágenes era mucho menor, por lo que tenías que ser muy descriptivo con tus palabras y transmitir una sensación global en las críticas de desfiles. En cierta manera, eso continúa también hoy, porque puedes ver un montón de imágenes pero solo si estás ahí puedes sentir la energía del desfile. Además, tienes que poner en contexto, dar referencias de des les anteriores, fuentes de inspiración... No es simplemente de decir: “Las faldas tenían este largo o su paleta de colores era esta”. Eso es aburrido. Se trata más de pintar un cuadro con palabras. El lector tiene que sentirse como si hubiese estado sentado a tu lado en ese momento.
Una publicación compartida de Jessica Michault (@jessicamichault) el 13 de Oct de 2016 a la(s) 11:04 PDT
¿A qué personaje, vivo o histórico, sueña con poder entrevistar?
A Coco Chanel. Estoy segura de que tendría un montón de opiniones fascinantes sobre el estado actual de la mujer en el mundo de la moda y en el mundo en general. Creo que sería una persona perfecta con la que tomar un par de copas.
¿Cuáles son los momentos más memorables que ha vivido hasta la fecha ligados a la moda?
Cuando comencé a trabajar con Suzy no sabía nada de moda. Después de haber asistido ya a unos cuantos desfiles, fui a ver el de un diseñador que estaba comenzando llamado Alber Elbaz, y he de decir que todavía hoy me arrepiento de no haber comprado nada de esa colección porque realmente me impactó muchísimo. Estaba todo hecho con una belleza exquisita, desde las prendas en sí hasta las modelos o la presentación. Ese fue el momento revelador en el que comprendí de qué trataba la moda. Otro sería el desfile Diorient Express que realizó John Galliano para Dior en 1998, donde montó a las modelos en un tren que llegaba a la estación de Austerlitz en París, que era el escenario. Comenzó una hora y 45 minutos tarde, y para entonces todo el mundo estaba un poco achispado con el champán gratis (era aún la época dorada), pero el desfile fue superpotente. Y cualquiera de Dries Van Noten es memorable, sobre todo cuando eres consciente de que es un diseñador completamente independiente sin el respaldo de un grupo empresarial fuerte.
¿Cuál es el mejor consejo que ha recibido? ¿Y el mejor que ha dado?
Mi lema: “Es mejor pedir perdón que pedir permiso”. Soy una persona que se lanza y se atreve a hacer las cosas en vez de sentarme en reuniones interminables para decidir algo.
¿Cómo es un día normal en su vida?
Depende, pues seis meses al año los paso de viaje a los desfiles en Nueva York, Londres o Milán, con unos 10 desfiles al día que cubrir, así que es un ritmo muy intenso. Pero cuando estoy en París por la mañana doy de comer a cinco perros y cinco caballos, llevo a mis hijas al colegio y voy a la oficina, con las reuniones, almuerzos y cócteles que la industria de la moda conlleva. Como tenemos oficinas en Nueva York, es como si el día no terminase nunca.
¿Me puede contar algo de su trabajo en la empresa de tecnología Launchmetrics y el impacto del big data y los algoritmos en cómo está avanzando el mundo de la moda?
Mi trabajo en Launchmetrics es dirigir el Fashion GPS Radar, que es donde los fotógrafos, estilistas y bloggers se dirigen para ver todos los eventos, conseguir invitaciones, ver las fuentes de inspiración, entrevistas, contactos, notas de prensa, etc. Todo está en el mismo sitio para que sea fácil de encontrar. También trabajo mucho con influencers, hacemos un seguimiento que va desde los más establecidos a los que parecen menores pero pueden tener un mayor impacto en sus seguidores. Esto me permite decidir con quien contar en el futuro, como embajadores de marca o para campañas.
Una publicación compartida de Jessica Michault (@jessicamichault) el 21 de Ene de 2017 a la(s) 1:40 PST
¿Cuánto ha cambiado la experiencia de la moda para los adolescentes con Internet y las redes sociales comparado a su época?
Ahora es mucho más fácil. Antes era una conversación unidireccional, ahora se ha convertido en un auténtico diálogo. Por ejemplo: Angela Missoni hizo los sombreros pussycat para su desfile, y me hice con dos para mis hijas. Mi hija mayor llevó uno el Día de la Mujer, y colgué una foto de ella etiquetando a Angela. Acabo de ver que la foto es la portada de su página de promoción en Instagram, y mi hija le ha enviado algún que otro mensaje. Esto es un ejemplo de cómo hoy en día puedes conectar directamente con una marca o un diseñador, algo que era absolutamente imposible cuando yo era adolescente. Y esto también permite que te descubran a través de las mismas herramientas. Cualquiera puede ser la next big thing. Esa democratización de la moda me parece muy liberadora.
¿Cómo será nuestra relación con la moda en el futuro, tanto online como offline?
Creo que habrá más conexión online, pero a la vez no hay nada como ir físicamente a un des le para sentir la atmósfera y la energía en la sala. El público vibra como en el teatro cuando todo uye, y también es evidente cuando la respuesta no es positiva. Ninguna experiencia virtual se puede comparar a esa sensación, pero tener videos 360o es lo que más se puede aproximar. Avanzamos hacia la personalización y la customización, tanto online como en el mundo real, con más eventos privados. El último evento de Tommy Hil ger en Los Ángeles es un ejemplo perfecto.
“Soy una persona que se lanza y se atreve a hacer las cosas en vez de sentarme en reuniones interminables para decidir algo”
Hace videos de 60 segundos que destilan su visión de un desfile. ¿Cuán difícil es condensar tanta información en un minuto?
¡Es difícil! Hace cosa de un año empecé a escribir crónicas en mis posts en Instagram, como texto, y no tuve casi respuesta. Pero empecé a hacer los videos para los desfiles de alta costura y ahora para los de prêt-à-porter, y están funcionando muy bien para dar una idea de qué ha ocurrido. En el Herald Tribune a veces solo teníamos 5 o 6 líneas para resumir un desfile, por lo que tengo experiencia condensando la información. Hay que transmitir el ambiente y la sensación, y además dar una opinión. Aun así hay ocasiones, como el des le de Alta Costura de Valentino, que hacen muy difícil este ejercicio de condensación.
¿Cuál ha sido el desfile que más le ha impactado últimamente?
Me fascinó ver el regreso de Olivier Theyskens, que esta temporada se ha afianzado aún más. Prada también fue un punto fuerte, y Bottega Veneta. También Dries van Noten en París, o Proenza Schouler en Nueva York, Fendi o Paco Rabanne.
¿Cuándo fue la última vez que una prenda le puso la carne de gallina?
Vas aprendiendo a tener perspectiva porque no se trata de prendas que estés comprando para ti, y eso te convierte más en un observador. Pero se me saltaron las lágrimas en el des le de Haider Ackermann en 2011 donde sonó una versión del poema de Leonard Cohen A Thousand Kisses Deep. Acabamos todos llorando de lo intenso que fue. Todavía hoy se me pone la piel de gallina al recordarlo.
¿Cuál es su último descubrimiento?
Atlein, un joven diseñador que solía trabajar para Givenchy y que hace piezas deportivas pero muy femeninas.
Una publicación compartida de ATLEIN (@atleinparis) el 28 de Mar de 2017 a la(s) 1:17 PDT
Lo mejor de la moda en 2017 es...
La capacidad de conectar con un público enorme que sigue creciendo a través de las redes sociales. Las marcas no se dirigen a un público de manera general, sino que intentan conectar con el comprador potencial. Es interesante cómo hemos pasado de lanzar productos a iniciar conversaciones.
Y lo peor...
¡Los tacones! No, ahora en serio, diría el ritmo. Es tan rápido e intenso que no tienes tiempo de apreciarlo. Es como un rayo, y nunca se sabe cuándo va a pasar.
TAG TALK with Jessica Michault
Jessica Michault is a truly international editor. The San-Francisco-born, Franco-American journalist spent sixteen years working under Suzy Menkes at the International Herald Tribune. Today, she's Senior Vice President of Industry Relations for LaunchMetrics and editor-at-large for ODDA magazine.
This article first appeared on Tag Walk by Monica Ainley.
Jessica Michault is a truly international editor. The San-Francisco-born, Franco-American journalist spent sixteen years working under Suzy Menkes at the International Herald Tribune. Today, she's Senior Vice President of Industry Relations for LaunchMetrics and editor-at-large for ODDA magazine. Jessica keeps us in the know with her 60 second on-point fashion show reviews on Instagram. Oh, and she's also a member of the BOF 500. Jessica is known for keeping things down to earth, always with an eye out for new projects or industry up-and-comers to champion (not to mention she's one of the first who discovered Tagwalk and brought it to limelight).
What's the last thing you saw that inspired you ?
In Fashion, the the first solo Valentino haute couture show that Pierpaolo Piccioli presented in Paris in January - I got goosebumps! In life, watching my daughters compete like amazon warriors during their horseball matches.
What’s your earliest fashion memory ?
It's more a sense memory from my childhood. I recall playing with my mom's gold chain necklace that would glint in the sun on her collarbone when she moved as she held me in her arms. And the smell of her perfume, Tea Rose, as she would go out at night.
In terms of my fashion career, I would have to say the first Guy Laroche collection from a young unknown designer named Alber Elbaz. To this day I still regret not saving up for one of the show's tulle dresses with embroidered flowers growing up from the hemline.
How did you find your vocation ?
I sent out only one CV in my life, to the IHT, and I got hired as a research assistant in the newspaper's library when I was 22. After about a year the job of personal assistant to Suzy Menkes opened up and I applied for it — and got it. I had no idea who she was at the time and had no interest in fashion when I started. It was Suzy's passion and her generosity when it came to my education in fashion and journalistic integrity, that got me hooked.
Explain your job in one or two sentences:
I am a journalist and fashion critic first and foremost. On top of that my job at Launchmetrics, as the company's SVP of Industry Relations, is to bring the worlds of fashion and technology together. To be a translator of sorts between the two very different creative languages. This way the fashion world can get the most out of the amazing software, big data and social media analytics the company has to offer the community. What they do really will help shape the future of our industry.
The best thing about working in fashions is_______
I just love spotting an amazing new talent and getting to help them make a name for themselves in the industry.
Which women inspire you the most?
Do I have to pick just one? I can't. So my short list is ....my mother...Michelle Obama...and...Suzy Menkes.
What’s your latest fashion discovery?
Well... I did spot Antonin Tron, the talents young designer behind the brand ATLEIN, well before he won the Andam prize for his first collection. As soon as I saw his work I knew in my bones he was going places.
The film that most speaks to your aesthetic is ________
Love Actually...cheesy I know... but that is what I am all about — love, family and killer red dress that hugs you in all the right places.
Your favourite Instagram to follow is:
To cheer me up after a long day it's @beigecardigan. That feed makes me laugh out loud. And when I want to dream (salivate) over other things besides fashion I go to @gioielleriapennisi. One day I will find a way to become a customer of that shop...mark my words!
Your top trend this season is/was:
I have a weakness for the beauty of asymmetrical designs.
Jessica Michault: The Interview
We talk with the Franco-American fashion journalist, SVP of industry relations at GPS Radar by Launchmetrics, editor-at-large for ODDA magazine and also, contributor to BOF, Jessica Michault. She tells us about her and her work in the fashion industry.
This article first appeared on Paris Social Diary by TEAM PARIS SOCIAL DIARY, photography by COURTESY.
We talk with the Franco-American fashion journalist, SVP of industry relations at GPS Radar by Launchmetrics, editor-at-large for ODDA magazine and also, contributor to BOF, Jessica Michault. She tells us about her and her work in the fashion industry.
Team Paris Social Diary: How are you today Jessica?
Jessica Michault: Happy, fulfilled and content.
PSD: Tell us a little about how you got into Fashion and Journalism?
JM: It was a bit of a fluke really. I applied to be the assistant to Suzy Menkes, not knowing who she was or having any interest whatsoever in fashion. Then I went with Suzy to see a Guy Laroche show by a young upcoming designer named Alber Elbaz and I finally understood how powerful and impactful fashion can be. I was hooked. It also helped that Suzy was such an amazing, generous and supportive boss. She was the best teacher I ever had.
PSD: As one of the most important journalists in the fashion business world, how would you describe the evolution of the industry in terms of Designers, Editors, Magazines?
JM: I don’t think I am saying anything new here by stating that the pace of fashion has just been ratchet up year after year and that has been crushing to creativity in my opinion. Also there is no underestimating the power that social media has had on the industry. Just the whole idea of choosing prints or colors for outfits because they will “read well on Instagram” is a scary state of affairs. Although I do love how the digital space has been able to help us discover new talents and make creative connections.
I think that monthly magazines are going to have a hard time surviving. They can’t break news and both Millennials and Generation Z consume their fashion digitally...more importantly…on their mobile phones. To this end I think that video content is going to be big in the future. So I see magazines that come out twice or four times a year as being the ones to have a continued resonance as physical souvenirs of a certain time in fashion.
Furthermore Millennials and Generation Z consumers are going to be looking to peers and not so much professionals for fashion advice and guidance. So designers who are want to be successful need to reach out and engage directly with their followers. Editors need to adapt or die. That is why I started doing my fashion show reviews on Instagram instead of writing them up. These “60 Second Reviews” are videos of the shows I attend with a voice over by me explaining the collection and why it worked or didn’t work. The same goes for my new Fashion Your Seatbelt podcast…as podcasts are very popular and are gaining global influence.
PSD: Would you say that Fashion has lost the “illusion” or “magic”? Why or Why not?
JM: No. There is nothing like attending a fashion show and watching a designer at their creative best. No matter how democratic fashion gets or how easily it becomes to watch a show, live online….or soon via VR headsets…nothing beats being in the room and feeling the electricity of a fashion moment. On a more personal level there is no doubt that fashion still has a lot of power. A great outfit can transform you, put you in a good mood and maybe even set your life on a new path.
PSD:After the big every-day changes and downsizing inside high-ranked magazines and fashion houses, what would you recommend them in order to succeed?
JM: Adapt. Don’t be afraid of new technology and don’t be afraid to risk and fail…or ask for help! As things are happening so fast now there is much less stigma around an “Epic Fail”. After all, this industry is built on reinvention and fashion editors and magazines need to remember they have to evolve as well.
PSD: And what would you recommend to the new generations to come in order adapt well on this matter?
JM: To stand out today you need to make yourself a brand. But that doesn’t mean lots of Instagram posts in fabulous locations with famous people. It also means finding your unique voice and speaking your truth when you write, style a shoot or snap a photo. You will never ever make it in fashion if you are a diluted distillation of someone else’s creativity.
PSD: Tell us a little bit more about Launchmetrics and GPS Radar.
JM: Launchmetrics is a company that helps the fashion industry as a whole work better. It helps brands understand their audience, connect with their community and benchmark their performances using our company’s trademark software tools and our proprietary big data algorithms that crunch both online and offline data so brands can make smart choices that save money and elevate the profile of their house.
My baby within the Launchmetrics family is GPS Radar. It is a members-only fashion community where top tear editors, stylist, photographers, creatives and influencers connect with brands. They can do everything from RSVP to shows to create mood boards of their favorite looks and then download the images for a story or actually order up pieces for a photoshoot from the PRs directly via the site. There is also a curated editorial feed on the homepage and a section dedicated to sifting though all those press releases we fashion journalists drowned in everyday. It has been called in the press “the Linkedin” of fashion” which is not a bad analogy.
PSD: What other interests do you have beyond Fashion and how it influences your work today?
JM: I am an avid horseback rider. I love riding because when I am on my horse Bellini I can’t think about anything else. I have to be 100% present and in the moment. No texting, no checking my phone, no daydreaming. It is just is so invigorating and it really helps me to focus and recharge my creative batteries.
YOUR FAVORITE…
PSD: Fall 2017/18 collection
JM: DriesVan Noten
PSD: Fall 2017/18 show
JM: Calvin Klein
PSD: Song for cheering you up
JM: “Groove is in the Heart” by Deee-Lite
PSD: Place to have a glass of your favorite drink
JM: A mojito on the rooftop of The Peninsula hotel in Paris. The views and the drinks are breathtaking.
PSD: ice cream flavor
JM: Stracciatella
PSD: Resort collection
JM: The Miu Miu show during the couture shows in Paris. The brand showed at the Paris Automobile Club, which is one of the most exclusive clubs in France. It is located right on the place Concorde. I have worked in this business for 20 year and never seen a show in this amazing location. And the sporty collection fit perfectly with the vroom vroom venue.
Jessica Michault: The Future of Luxury
At Paris’ eclectic design boutique Chez Moi, BACO’s Marianne Dorell discusses the future of the luxury industry with Jessica Michault, editor in chief of online magazine NOWFASHION and the biannual fashion bible Magazine Antidote.
This article first appeared on BacoLuxury by Marianne Dorell.
By Marianne Dorell
At Paris’ eclectic design boutique Chez Moi, BACO’s Marianne Dorell discusses the future of the luxury industry with Jessica Michault, editor in chief of online magazine NOWFASHION and the biannual fashion bible Magazine Antidote.
Q & A:
The fashion landscape is rapidly changing – with fashion weeks from Nairobi to Tbilisi garnering international attention. How does Paris weigh, in terms of of prominence, compared to other fashion capitals?
There is no question that Paris is still the place to be and to get noticed when you are a designer. When you want to show you’ve made it, you come to Paris. It’s the place where you bring your “A game.”
London is known as a hub for the young and up-and-coming designers. Paris is where you show that you have matured enough, and that you have gained enough depth and richness in your creativity — so much so that you can maintain yourself in Paris.
You can be flashy in London and get that early buzz, but if you want to go the last the distance, you’ve got to come to Paris.
In her “Anti-Fashion Manifesto,” Li Edelkoort writes that fashion is getting more and more commercial and that in a certain way, it’s dead. But she also points out that this could be good news, as a rebirth may be on the horizon. Do you agree with her point of view?
Yes, you can feel this commercial aspect more and more, especially this last season. The croisiere collections have, for instance, become more prominent among the big brands.
Due to the increasing power of the social media, the brouhaha around the show is more eye- catching than ever. For example, I think of the Dior Hommes show that featured an orchestra, or the Valentino one with the Zoolander characters [Ben Stiller and Owen Wilson]… You are seeing more of the commercial side, as the fashion shows strive to propose events, moments and happenings that everyone can Instagram, Twitter, Snapchat etc…
But on the other hand, we are seeing people who desire more individuality and a more authentic experience through their clothes.
They want to know if they are sustainable and from where the different pieces come from. More than ever, they want to meet the artist and they want to create something together, …
The concept of logo, logo, it bag, it bag, has certainly faded away.
Li Edelkoort also points out that fashion schools are teaching their students how to organize a big fashion show, with a great soundtrack et all, but they are not really teaching them how to instill a sense of know-how into their brand. Do you think the French savoir-faire is still alive in Paris or is it threatened ?
I think that Paris is all about savoir-faire. It’s part of the DNA of this country, like in Italy. The luxury brands are contributing to perpetuate this savoir-faire. The perfect example would be Chanel, which basically saved a lot of small houses by putting their work under the spotlight with the Chanel Métiers d’Art show.
Is there still a place for fashion journalism, in your opinion?
The hardest thing for a fashion journalist today, is the shortened attention span of the younger generation.
I come from the International Herald Tribune where we were already slicing down big stories into a 1000 words max. I learned how to condense my articles and to quickly offer the information to the reader. People want to bitesize quick and understand fast. It makes you work harder, because you have to tailor to this new kind of reading.
I worry about the monthly magazine. They can’t be about news unless they get an exclusive. Weekly publications are more preserved. But I think there is still a place for bi-annual magazines that have a deeper, richer and more in-depth treatment of the subject.
How do you see your role as a fashion journalist and as a fashion critic?
It is difficult to criticize someone before you’ve seen where he is going.
Being a fashion critic is more about the context of a collection, the evolution of the designer’s work, his or her references to other creatives, how well it is executed, how the message came across…
When you look at the concrete catwalk, with people being given clothes to wear, it kind of deludes the point of personal expression through clothing. If you’re wearing head-to-toe Valentino because they gave you the outfit, you’ll look fabulous, but it will not say something about who you are or your point of view on fashion. At least not so much and that’s a bit of a shame. I love the eccentrics — those people who put together their own looks.
For me the best thing about being a fashion journalist is finding those diamonds in the rough. I love finding these young designers and being able to offer them a platform like NOWFASHION.
By Marianne Dorell
How did you break into fashion in Paris ?
When I first started working as Suzy Menkes as her assistant in Paris, for the International Herald Tribune, I didn’t know anything about fashion. I went to a couple of shows with her and they didn’t do anything for me. Then, I went to see this young designer, who was totally unknown at the time. It was Guy Laroche’s show and the young designer’s name was Alber Elbaz. It just knocked me for a loop. I fell completely in love with what he created, the clothes, the mise en scène, the emotion he provoked. This is certainly one of my strongest memories. It has been wonderful to see this person mature into this amazing talent. That first show made me understand what fashion could be at its best and how clothes can affect us..
Jessica Michault : ’’Faire ressentir l’ambiance d’un défilé’’
Ancienne journaliste de mode au New York Times ou à Vogue, Jessica Michault a récemment rejoint, en tant que rédactrice en chef, Valerio Mezzanotti et Valerio Nappi, fondateurs de Nowfashion. C’est le premier magazine de diffusion en temps réel de photos et d’informations dédiées aux défilés et à l’univers de la création. Confessions d’une accro à la mode.
This article first appeared on Stilleto by Laurence Benaim.
Ancienne journaliste de mode au New York Times ou à Vogue, Jessica Michault a récemment rejoint, en tant que rédactrice en chef, Valerio Mezzanotti et Valerio Nappi, fondateurs de Nowfashion. C’est le premier magazine de diffusion en temps réel de photos et d’informations dédiées aux défilés et à l’univers de la création. Confessions d’une accro à la mode.
Laurence Benaim
Quelle impulsion souhaitez-vous donner à Nowfashion ?
Notre point d’orgue, c’est l’interactivité, une dynamique essentielle au web. Apporter, par exemple, en liens des défilés, la possibilité de se procurer la musique du show, assister à ce qu’il se passe en backstage, interagir sur les réseaux sociaux, ou encore regarder une interview du créateur parler de ses inspirations. Aujourd’hui, tout le monde souhaite être assis au premier rang. Nous voulons faire vivre ces moments rares au plus près de la réalité. Pas simplement montrer les looks mais faire ressentir l’ambiance et faire vivre les mêmes frissons.
Comment imaginez-vous l’avenir de la mode ?
Le principe des saisons n’a plus de sens. C’est dépassé. D’autant que c’est un rythme insoutenable pour les créateurs, qui aboutit à des catastrophes. Les collections croisière correspondent davantage au monde dans lequel on vit. J’ai l’impression que l’on va davantage assister à des défilés-événements exceptionnels, comme récemment avec Ferragamo.
Votre plus grande émotion ?
Il y a plusieurs années déjà. Un défilé de la maison Guy Laroche d’Alber Elbaz, j’en ai eu des frissons. Je me souviens d’une petite robe à fleurs toute simple, superbe. Je regrette encore aujourd’hui de ne pas l’avoir achetée.
Vous êtes collectionneuse ?
De sacs à main. Je ne peux pas vous dire le nombre, mon mari va me tuer ! Facilement 300. J’ai un sac fétiche pour chaque saison. En ce moment, c’est un Chanel. Mon dernier achat est une pièce sur-mesure de Olympia Le-Tan faite sur le modèle de la couverture de mon livre d’enfant préféré, The Story of Ferdinand, de Munro Leaf. Je l’ai attendu six mois, vous ne pouvez pas imaginer le bonheur que ça a été de le recevoir. J’ai également une grande collection de peignes vintage. La plupart d’entre eux date du 18e siècle.
Ce qui ne quitte jamais votre sac à main ?
Un stylo offert par ma belle-mère. Dit comme ça, cela n’a pas l’air sexy, mais elle me l’a donné lors de la naissance de ma deuxième fille et j’y tiens beaucoup. C’est mon stylo fétiche.
Votre talisman ?
Si vous demandiez à mon mari, il vous dirait certainement mon téléphone portable. J’écris mes articles sur mon smartphone et j’y télécharge de nombreux livres. En ce moment, je suis plongée dans la lecture de Fifty Shades of grey, de E. L. James.
Vos trois hot spot ?
Le Palais Royal, avec la boutique vintage de Didier Ludot. L’Hôtel Costes. J’adore m’y installer et observer les clients qui observent eux-mêmes les clients. C’est passionnant ! Et j’y rencontre toujours quelqu’un que je connais. C’est un endroit agréable en été, avec une terrasse pour profiter du soleil. Et puis, il y a des petits recoins sombres pour des rendez-vous galants. Le Silencio, le club de David Lynch. Un endroit intime, miniature, j’adore ses caves voûtées et son escalier Eiffel.
Le meilleur endroit pour flâner ?
J’aime beaucoup le 10e arrondissement, un quartier qui bouge avec de nombreuses boutiques de jeunes créateurs. Je vais souvent Chez Prune pour y travailler. J’y apprécie particulièrement leur chocolat chaud, une merveille!
Votre short list pour la rentrée ?
Je viens de commander toute ma garde-robe chez Haider Ackermann, dont un manteau en cuir aubergine façon biker. Son défilé m’a fait pleurer.
Votre dicton ?
Il vaut mieux demander pardon que de demander la permission.
Interview Céline Hussonnois Alaya
Le petit guide de Jessica Michault :
– La boutique vintage de Didier Ludot, 24 Galerie Montpensier – Jardin du Palais Royal, Paris 1er, 01 42 96 06 56
– L’Hôtel Costes, 239 Rue Saint-Honoré, Paris 1er, 01 42 44 50 00
– Chez Prune, 36 Rue Beaurepaire, Paris 10e, 01 42 41 30 47
– Le Silencio, 142 Rue Montmartre, Paris 2e, 01 40 13 12 33
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IHT Online Style Editor Jessica Michault Named Editor-in-Chief at NOWFASHION
Jessica Michault, Suzy Menkes' partner-in-crime and online editor at the International Herald Tribune, is leaving her post at the storied publication for greener--or at least speedier--pastures: The editor and blogger has just been named editor-in-chief of NOWFASHION.
This article first appeared on Fashionista by Hayley Phelan.
Jessica Michault, Suzy Menkes' partner-in-crime and online editor at the International Herald Tribune, is leaving her post at the storied publication for greener--or at least speedier--pastures: The editor and blogger has just been named editor-in-chief of NOWFASHION. Most of us know NOWFASHION as the place to go for in-real-time runway and red carpet photos--but the site, helmed by photographer Valerio Mezzanotti, is hoping to change that.
Jessica Michault, Suzy Menkes' partner-in-crime and online editor at the International Herald Tribune, is leaving her post at the storied publication for greener--or at least speedier--pastures: The editor and blogger has just been named editor-in-chief of NOWFASHION.
Most of us know NOWFASHION as the place to go for in-real-time runway and red carpet photos--but the site, helmed by photographer Valerio Mezzanotti, is hoping to change that.
"We are looking to add an in-depth magazine section to complete the instantaneity of the images," Mezzanotti told us in a statement. Indeed, if you visit NOWFASHION you can now see the site has a new "Magazine" tab--and Michault will be responsible for its development.
"Jessica has an extremely precise vision of what the web is today, and her experience in fashion is also amazing," Mezzanotti said. "She knows how to combine both like no other. This is why she is ideal for Nowfashion."
It's an interesting move for Michault, and perhaps indicative of a growing trend that has industry players swapping their positions at more prestigious, classical media outlets for roles at publications grounded in today's digital world. That's a sharp contrast to the International Herald Tribune, which shuttered its site long ago, shuffling their online content to global.nytimes.com.
We reached out to Michault and are waiting to hear back for comment. This is a pretty exciting development---we're looking forward to seeing how NOWFASHION's of-the-moment images are coupled with Michault's experienced online fashion voice.
Update: According to Michault, she decided to take the new position because she believes that "the innovative work NOWFASHION is doing is the future of fashion."
"Getting runway images and video up live, as the shows are happening, is the next evolutionary step of the world we work in," she wrote to us in an email.
But, she added, she's excited to give the site the one piece of the puzzle it was missing: Original editorial content. "The site had a clear grasp of the visual element of fashion but it lacked an engaging editorial content," she said. "I plan on giving the site an editorial direction that will incorporate the powerful images the site already produces with insightful interviews, show reviews, one to one video profiles with designers and... looking forward...interactive photo spreads."
Michault will need help building the site's editorial content up--which means we can expect some exciting new hires to happen soon. "I am already putting an editorial team together to increase fashion coverage from around the world," she said. "One of the things NOWFASHION.com has been focused on is highlighting fashion events from across the globe, not just the top four fashion capitals, and I want to support that with locally written copy."
Michault also hinted that we may have some exciting new projects to look forward to from the site. "We have other plans in the work, particularly with a focus on the Asian market," she said. "But I will have to come back to you with that news once things have been finalized."
While the editor is excited for her new position, she's not cutting ties entirely with IHT: She'll continue to write for them on fashion and luxury watches in a freelance capacity and will also continue her weekly live fashion segment on France 24 television.