9 posts tagged "Diane Pernet"
Fashion film is a curious genre. Oftentimes, the Style.com team is confronted with the typical pitch: a short little flick featuring haunting indie music, a pensive-looking model, a vintage bohemian ambiance, and, of course, a new collection. Sure, there are great ones (as evidenced by our Video Fashion Week series, which wrapped today), but more often than not, they’re cheesy and lacking in both plot and substance. However, according to former designer, renowned journalist, and A Shaded View on Fashion Film Festival founder Diane Pernet, this breed of cinematography is not fashion film at all. “Just because you’ve used a movie camera doesn’t mean you’ve made a film,” Pernet told Style.com. And she would know. Having launched her famed Paris-based festival in 2008 (it gets its name from her blog, A Shaded View on Fashion), Pernet now sorts through more than five hundred cinematic submissions each year before curating the lineup of films to be shown (and judged) during her grand event. As you can imagine, she’s seen the bad, the terrible, but also the spectacular.
Last weekend, thanks to a little help from the French Institute Alliance Française and Kering, Pernet brought New York its first taste of ASVOFF. She screened the festival’s greatest hits by the likes of Bruce Weber, Ellen von Unwerth, and Mike Figgis with the hopes of inspiring and enlightening her stateside fans. There was no competition element this time around, but Pernet, who’s as well known for her marvelously outré noir uniform as for her widespread work in sartorial cinema, hinted that she hopes to bring the full-fledged festival to the Big Apple next year. Also on her docket? The launch of a trio of perfumes, which debut on Style.com’s Beauty Counter this afternoon. Here, Pernet talks to Style.com about the role of fashion film, her frustration with runway shows, and why fashion flicks are so rarely taken seriously.
Oftentimes, fashion film is not taken seriously. Why do you think that is?
I think the reason it’s not taken seriously is that a lot of fashion photographers making films aren’t filmmakers. It’s their agents who are telling them, “You’d better get a video camera and you’d better make a film because that’s where it’s at.” And a film director has to think of so many different elements that you don’t think about in a frozen image. So a big problem is that some fashion photographers have a hard time making the segue. Of course, there are people who have made a nice entry, like Bruce Weber or Ellen von Unwerth who have been doing it for over a decade, or newer people like Steven Meisel, Steven Klein, and Inez & Vinoodh. But a lot of photographers are just making fashion photo shoots that move. That’s not a film. It’s a fashion shoot in motion and that’s not interesting. Not interesting to me, anyway.
A lot of fashion films that we see are almost a parody of themselves, with the indie music, the “deep in thought” models, the vintage vibe…With that in mind, what does it take to make a compelling fashion film?
I always use this as an example because it’s something everybody knows: A Therapy, Roman Polanski’s 2012 film for Prada. That’s an excellent fashion film. I personally like a narrative. I think you need a narrative if you’re going to hold somebody’s interest for three minutes. CO’s She Said, She Said  by Stuart Blumberg, which won best acting in my festival, is a great example. It had a wonderful story. After my festival at Centre Pompidou, I got an e-mail from a digital person at LVMH that said, “Now that is a great way to show fashion.” Fashion film is not about just selling the product—it’s about creating an atmosphere. It’s a story. A great fashion film needs the same criteria as a feature film. Does it take you somewhere? Does it have some kind of emotion? And humor is always great. People in fashion need humor.
Does it upset you that so many brands are dubbing these moving photo shoots “fashion films”?
I get about five hundred submissions [for my festival] every year, and an awful lot are in that category. I think people still don’t have a grip on what a fashion film is—they still believe that if someone’s moving in front of the camera, it’s a film. So that’s a little depressing, but it’s getting better. People are starting to realize that it’s not about, like, here’s the shoe, here’s the dress, here’s this. It’s not an animated lookbook, for God’s sake. It’s a film.
Do you think that fashion film can stand on its own as an art form, or will its primary purpose always be to showcase a product?
I think it can stand on its own. There are a lot of fashion films that are made by actual filmmakers that are not just about a product, even when it is for a product. We have to move away from [product-centric fashion films] because they’re not very interesting. You want something that’s going to make you think. It’s just not about being pretty—it’s got to be more than that.
You were really the first major champion of fashion film. How did you come to be so passionate about it?
Well, my background is in film. That’s what I have my degree in, and I’ve always loved film and I’ve always loved fashion. I think from the first Walt Disney movie I saw in a drive-in, the fantasy of films just captured me. And as far as clothing, I was a designer for thirteen years. I think the real seed of it, though, was planted when I moved to Paris at the end of 1990. My first job was working on a feature film as a costume designer, and I realized how directors are really afraid of fashion. Of course, some directors, like David Lynch and Peter Greenaway, got it. But most are afraid that the fashions are going to take too much importance. But really, fashion is supporting the character, and it can be very subtle. Most directors just don’t understand fashion or they don’t give it the credit that it really warrants. That really made me think about the relationship between fashion and film.
Do you think the fact that directors like Martin Scorsese and Wes Anderson, who have made films for Dolce & Gabbana and Prada, respectively, have elevated the practice to higher regard?
Absolutely. That’s why we like to always have one of our films presented at Cannes because we want more directors like that to be involved. I just met Alejandro Jodorowsky’s son, Adan Jodorowsky, who made this incredible film, The Voice Thief , with Asia Argento. We’re going to put it in the next edition of ASVOFF. I want to always raise the bar, and I want more real directors. I think that’s important.
Do you think that something originally pegged as a fashion film could evolve into something that ends up being a mainstream feature?
Yeah, I hope so. I’d love that. And why not? Take Wes Anderson. I haven’t seen The Grand Budapest Hotel yet. But I think there are directors whose features you can call fashion films. We had William Klein two years ago as a special guest, and that film, Who Are You, Polly Maggoo? , was a fashion film. Or what about Zoolander ? I love Zoolander. That’s a fashion film. I thought it was really interesting. And I love some documentaries, like the one on Diana Vreeland, The Eye Has to Travel . I loved that film. I thought it was really inspiring.
How do fashion films make us look at garments differently than a fashion photograph or a runway show does?
Fashion films are a dream. They’re all about desire. You’re seeing the garment in 3-D. I love a frozen image, too, so I’m not against print. I think there’s a value to that, and they can be something really beautiful. Fashion films are just another way to show fashion—not the only way. I’m not saying that fashion films are going to take over runway shows, because they’ve always been the most efficient way to show fashion, even though now, I think, for the most part they look pretty last century. I don’t think that will change right away.
Do you think it should change? Should we move away from runway shows?
I’d be happier to see more films and installations. I think so many fashion shows shouldn’t even happen. You spend so much time going from one end [of a city] to the other just to see things walking up and down the runway. If you’re going to take us somewhere, like Alexander McQueen used to or like [John] Galliano did in his day, or sometimes other designers like Rick Owens or Haider Ackermann do, there’s something special and emotional about a show. There’s a mood. But I don’t see that a lot anymore. I’ve talked to Rick Owens about this, and he likes the “tribe” experience of a show, but if you ask me, the main point of a lot of these fashion shows now is just to see who’s sitting in what row. I mean, who cares? I think they’re not necessary.
Framed by the storied houses of alta moda, Alta Roma, Rome’s couture week, is always a feast of exhibitions, old-world craft, and rising stars. The four-day Fall ’14 spectacle, which wrapped this evening, offered up a Hans Feurer retrospective at the Roman palace La Pinacoteca del Tesoriere; a visit to the city’s Sartoria Farani, which has made costumes for Fellini, Pasolini, and Peter Brook; a fashion performance by Ludovica Amati in the rarely seen ruins below Rome’s Piazza Navona; and Bulgari’s presentation of the greatest hits from Diane Pernet’s A Shaded View on Fashion Film Festival, which was staged in Rome’s nearly 2,000-year-old Tempio di Adriano. If all this sounds like a nostalgia-inducing, Fellini-esque fashion circus, it was. But that’s not to say Rome didn’t highlight the new—it just took the most scenic route.
In fact, Alta Roma serves as a springboard for young designers. For instance, the six new talents who competed for Italy’s Who Is On Next prize last season returned to Rome to present their Fall ’14 collections. The winner of that competition, Austrian-born, Milan-based designer Arthur Arbesser (above, left), unveiled a fresh Fall ’14 range of checkerboard knits, transparent shirts, simple jackets, sweatshirts, and shorts.
Alta Roma afforded Arbesser not only a platform to present his Fall vision (which was inspired by “Joy Division’s Ian Curtis, London’s street edginess, Memphis design, and the straight lines of Vatican tailoring”) but also an opportunity to meet his idol, 83-year-old couturier Roberto Capucci, who came backstage to congratulate him postshow. “I was a child when the Kunsthistorisches, Vienna’s art history museum, showed Capucci’s pieces with armor and gowns from the Hapsburg Imperial family,” said Arbesser. “Seeing that convinced me to study fashion.” Continue Reading “At Alta Roma, It’s in With the Old, and the New” »
If Paris has an answer to Williamsburg, it would be the area around the Rue Lucien Sampaix in the 10th arrondissement. The neighborhood’s epicenter is the Tuck Shop, the retro-chic vegetarian eatery and gourmet coffee bar opened last year by a trio of hip Australian girls: Anna Rice, Stella Rice, and Rain Laurent. Last night they added “art gallery” to their roster as they feted an impromptu first show by a fellow Aussie, Leo Greenfield, who’s been hanging around Paris since fashion week and working on what he calls “observational illustration.”
“I’m interested in the language of drawing. I look at [my work] as social portraits combined with journalism,” the artist said, surveying walls lined with breezy drawings of Haider Ackermann, Diane Pernet, and Alber Elbaz. Greenfield sketched these from memory after Olivier Saillard and Tilda Swinton’s recent Eternity Dress performance. Pretty good access for someone who showed up in Paris cold a couple of years back and just happened to benefit from the kindness of strangers, like Damir Doma and Joel Arthur Rosenthal.
Asked what impressed him the most about the Spring shows, Greenfield replied, “Comme des Garçons for its graphic impact. And at Haider Ackermann I saw colors I had never seen before, and it was all so fast I couldn’t draw it!” In any case, all indications point to Greenfield closing in on his dream life as an artist in residence: He has just wrapped a weeklong stint in Martin Grant’s atelier. “It was amazing,” the artist said. “He’s all about minimalism without losing luxury.”
This weekend, the legendary Diane Pernet—whose A Shaded View On Fashion is one of the original fashion blogs—unveiled the third edition of her fashion-film festival, A Shaded View On Fashion Film. This year, she’s brought on a co-judge, Tavi Gevinson (left, with Pernet), one of the most followed fashion bloggers of the moment. The winners have been named—visit A Shaded View On Fashion Film for more—but all the films from the competition screen for the public tomorrow at the Centre Pompidou. For the festival weekend, Style.com sat down with Pernet and Gevinson to talk fashion, film, and just where the whole blog thing may go.
How did you two first come together?
Diane Pernet: I was invited to participate in a blogging conference last March. Tavi was participating in one section and me in another. I told the organizer that I wanted to meet Tavi because I wanted to propose something to her. We met. She was charming. It was very brief.
Tavi Gevinson: I remember being in total awe of her hat and knowing I was meeting a true character.
The competition is for fashion films. Tell me a little about them—do you see them as their own separate art form?
DP: There are no rules for fashion film, as it is a new genre. That said, if we think of fashion films as any film where fashion plays a major role, then we can say that under that heading fashion films have been around since the time of silent movies. G. W. Pabst’s Pandora’s Box in 1929 with Louise Brooks, William Klein’s 1966 Qui êtes-vous, Polly Maggoo?, Luis Bunuel’s 1967 Belle du Jour with Catherine Deneuve, and short fashion films by Guy Bourdin all show the impact that fashion and cinema can ignite. Continue Reading “Diane Pernet And Tavi Take The Shaded View Of Fashion Film” »
The one fault New York gallery types might have with this week’s art offerings is the sheer abundance of them. Should one put off the Biennial to better take in the Armory Show? Dodge the crowds and check out Volta or Pulse? Heed your accountant’s warnings and skip the weekend entirely? Last night at Quality Meats, A Shaded View on Fashion‘s Diane Pernet made a case for none of the above. The veiled blogger was tapped to curate SCOPE Markt, a fashion-focused satellite of Scope’s larger art fair, opening tomorrow at Lincoln Center.
Pernet found wearing the curator hat—in addition, of course, to her customary black habit—quite natural. “The whole idea of blurring boundaries between fashion, art, and film is perfectly my world,” Pernet said before dinner. Hand-selected from Pernet’s wide network of artist and designer friends, Markt’s exhibitors are an international lot. Bosnian-by-way-of-Sweden designer Lamija Suljevic’s ornately embellished old-world handicrafts will be on display next to a film starring the Graces, Undercover designer Jun Takahashi’s handmade dolls. “They’re these strange-looking sci-fi figures,” Pernet explained, adding that the humble Takahashi reintroduces himself to her every year at the Comme des Garçons show. Pernet was equally humble when pressed about fashion blogging, a medium she might as well have invented. “I think I was one of the first fashion blogs,” she demurred, admitting that she loves hearing from fellow bloggers—like Susie Bubble’s Susie Lau—that she was the reason they started their blog. “I know how it works,” she said of the Web. “I, personally, like the fresh approach.”
Scope Markt opens to the public tomorrow through Monday at Lincoln Center Damrosch Park. For more information, visit www.scope-art.com.