Interview with Diane Pernet for Trend Prive’ Magazine

Credits :

Eviem Photography – http://eviemphotography.tumbl…/

Diane Pernet – International Fashion Blogger and Critic, the founder of ASVOFF ( A Shaded View on Fashion Film). Pernet was a New York fashion designer in the 80’s and fashion editor for Joyce Magazine, Elle and Vogue France.


You are writing a wonderful history from 1980s in fashion culture and actually you are one of the most influential mentor for many emerging talents. What is your current state of mind about fashion industry in the world ?

Well, as most of us know all too well in this business, the power structures of the fashion industry are skewed in the opposite direction — almost to the disadvantage of most emerging talent. This is nothing new because for more than a decade fashion has been in the hands of big corporations and giant conglomerates. That’s just the way of the world now. But I do think that most things in life are cyclical so I have some hope that there will be emerging new opportunities for some of the best emerging fashion talent. That’s already beginning to happen thanks to new business models and start-ups on the internet. And it’s very much in the zeitgeist. You can sense a newfound hunger for creativity among some of the industry’s more influential people. Hopefully this we help to place more value on creativity and innovation going forward.

For my part, I’ve always tried to champion creativity. That is what interests me. I was an independent designer for my own brand for 13 years and I like to support talent not just in fashion, but also film directors, artists, musicians it is all connected in my world. It is never easy to be original so I want to provide a platform where talent can be nurtured and I don’t lose interest once they become successful. It gives me great pleasure.

How important is film industry for fashion culture and how do you feel about discovering new talents ?

In ‘fashion film’ you have the storytelling aspect that is inherent in any film no matter how long or short. A format like ‘fashion film’ is also usually more spontaneous and less scripted than other ways that the fashion industry typically captures imagery. And it’s these qualities that are very attractive to consumers when they are exposed to a brand in an online environment. So, for me, ‘fashion film’ is not only a creatively powerful too but it also makes good sense from a business and marketing point of view.

Another thing to keep in mind is that the ‘fashion film’ phenomenon has opened the door for small and medium sized fashion brands to make video ads for the very first time. Previously, before the internet developed to a point which became suitable for ‘fashion film’ to flourish, only the giant fashion brands had enough budget to make video ads because TV and cinema advertising rates were the only outlet and they were very expensive. But now, ‘fashion film’ can be accessed — without any additional cost to the brand — from their own websites, through social media sites or video channels on the internet so this means brands only need to pay for the production of the film, not advertising space itself. And even the production costs for ‘fashion film’ can be a lot less expensive than traditional TV fashion ads in the past. This works because the spirit of ‘fashion film’ is typically one where there the consumer expects brands to push the boundaries a bit more and to not necessarily be quite so precious about things.

As for how fashion can impact bigger issues and the broader culture, I think that’s pretty obvious. But I guess people need reminding from time to time. Just look how fashion brands can tackle social issues like the recent campaign shot by Bruce Weber for Barneys dealing with gender identification. We’ve also started to see older models suddenly appearing on magazine covers and in ads and the rise of sites like Advanced Style. Fashion is guilty of being prone to fads so the impact of these movements might not be as long or go as deep as we’d like but fashion is somehow a lens on the state of the collective consciousness.

What do you feel is the most challenging thing about emerging talents in fashion industry?

It’s as fundamental as keeping themselves afloat when there so much competition from the big brands and from fast fashion. They have to create something that has its own signature and understand that fast fashion spends a lot of time and money to make perfect patterns. If they are trying to sell their garments at high prices they better make sure they know how to cut and produce their fashion. They must have something to say that is not already on the market.

Tell us an important mentor that inspired you. How did he/she changed your life?

I don’t think that I really had a mentor but for sure I’ve been influenced by people like the designers Charles James, Madame Gres, Schiaparelli and by film directors: Mike Figgis, John Cassavetes, Rainer Werner Fassbinder, Luis Bunuel, Visconti, Pasolini and icons like Anna Magnani. They changed my perception of fashion and film.

If you could have a day with a wonderful designer who would it be?

Living or dead? Madame Gres and Charles James…Living would be Rick Owens , KTZ’s Marjan Pejoski but then again I’ve spent time with both of them already….

Your favourite song from all the time is…

I don’t have a favorite song of all time …for the moment I like Happy by Pharrell Williams because it is….Happy.

Can you describe us your thoughts when creating a fashion film ( details : location, lighting, composition ecc. ) and what it means to you?

Although I’ve made dozens of short films in the past for now I’m concentrating on a platform to support talent more than creating actual films. Perhaps my guide for directors to win at ASVOFF can best answer this:

31 Ways to Win ASVOFF
 on Trend Prive’ Magazine

With love, Mira.

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