m.a.g.

Diane Pernet, a visionary in shades

By Víctor Aparicio, Fashion Editor of Fantú Magazine

November 2024

It’s hard to picture a world without Instagram, TikTok or Twitter, a time when the term “life blogging” was unknown terrain. However, even before the digital avalanche, a meteorite of innovation struck the earth in the form of Diane Pernet. With her blog A Shaded View on Fashion (ASVOF), founded in 2005, Pernet was not only the inventor of a new way to document fashion, but a new way to approach it. She was not only ahead of her time, she created the future. She herself was the future.

When we began our telematics interview, his presence was exactly as iconic as I had imagined. The white light from the screen bounced softly off just her silhouette, with the contours of her nose and the sharp line of her lips painted carmine.

As we talked about something as mundane as the cold weather in our respective cities: her in Paris, me in Barcelona, I couldn’t help but feel the deep sense of privilege and excitement of speaking with a true pioneer.

But… how an icon transforms into Diane Pernet?

Back in the early 2000s, when “fashion influencer” wasn’t a job title, Pernet was carving out the digital landscape. From 2000-2005 she was making short fashion films and had a column “Diane’s Diaries” on a site called Disciple Films, founded by Alex Czetwertynski. “Alex and I built the fashion part of his site and created a series of short fashion films called Fashioned Out. On one of our Fashioned-Out projects commissioned by Galeries Lafayette, we were in Milan and met a showroom model, Anina, that was very tech oriented and as we got to know her she proposed that I try a new thing called Life Blogging”.

Then Mark Eley of Eley Kishimoto commissioned her to make a road movie for the launch of his menswear collection in 2005 and that turned into the beginning of her first fashion film festival “You Wear it Well” in 2006. The transition from blogger to Curator of A Shaded View on Fashion Film (ASVOFF) in 2008 felt inevitable. With a film background and an inborn love of storytelling, Pernet imagined a space where fashion and film could intersect.

ASVOFF, the first fashion film festival, became a lighthouse for creative innovation… Back in those days, fashion films were often dismissed as niche projects or mere advertisements. Over time, the festival redefined their role, establishing them as a medium that bridges art and commerce.

What sets ASVOFF apart, even after 16 years, is its refusal to stagnate. Pernet approaches each edition as if it’s the first. “Staying fresh means being in tune with the cultural zeitgeist and exploring new voices, formats, and technologies”. And she’s right: this year’s festival, held at Dover Street Market in Paris, was a testament to that commitment. The 16th Edition broadened to cover crucial topics such as mental health in fashion and climate awareness for children and teens. In Pernet’s words, “These are the conversations that matter now.”

Despite its success, ASVOFF continues to confront its own challenges. Financing, Pernet admits, remains a constant problem. “As an independent, it’s difficult. I don’t have a big sponsor supporting me, but I do it because it’s my passion,” she explains. She also recounts how difficult it was to introduce climate projects for children, which met with opposition, especially among skeptical parents. “Kids were excited, but their parents… I’ll probably need to rethink my approach next year.”

But for Diane, it’s never about the money or the glamour. “Other festivals focus on red carpets and celebrities—that’s not my interest. I want to give opportunities and shine a light on talents, to elevate and educate.”

And so, this year’s edition brought forward a compelling range of topics. The films screened were not just about fashion, they were about the intersections of culture, identity, and technology. A standout documentary was Made in Italy, made by the Chinese, which examined the role of Chinese immigrants in the Italian fashion industry, questioning the glorified «Made in Italy» label.

This festival, more than ever, asked crucial questions: Can fashion and sustainability coexist? How do we balance creativity with social responsibility?

Even with all the innovation on display, ASVOFF never loses sight of its roots. As Diane says, “Luxury is not a Logo, true luxury is craftsmanship. It’s about how we create things, and what the end result will be.” This year’s festival was also a reflection of her philosophy, with an emphasis on authenticity and individuality.

For Pernet, fashion is not just about the clothes, it’s about how we express our identities. “Style is timeless,” she affirms. “It doesn’t require much money. It’s about going into your closet and reinventing what you already have.” In an industry that often prioritizes wealth over creativity, Pernet is a steadfast reminder that style isn’t about having the latest designer label, but about creating something uniquely your own.

When I asked her how she found beauty in the dark moments in both fashion and life, her response was a gentle reminder that even in the half-light, there is hope. “It’s a very dark time right now,” she told me, «but we have to look for the light. There would be no shadows if there was no light”. I was struck by the simplicity and power of his words. In a world that seems self-centered in its chaos, Diane chooses to be practical: “Do your part, whatever it takes. Help people. Do simple things, like turning off the tap while soaping up in the shower. It’s not a big deal. There’s a saying by the Dalai Lama that goes something like, ‘If you think you’re too small to make a difference, try sleeping with a mosquito.”

We then talked about fashion, what is missing in its current lingo. For Diane, the answer was clear: humanity. “That’s why mental health in fashion is so important,” she explained. “And having a real concern for the planet, beyond ‘greenwashing.’ It’s easy as a young designer to start an environmentally conscious project, but when you’re a big brand, you have to take small steps in that direction. Creating things with the ultimate impact in mind is the real challenge.”

As she spoke, I was gripped by her concerns about the future. She told me how, as she saw baby carriages on the street, she couldn’t help but wonder what kind of world those children would inherit. “It’s all going too fast,” she reflected. “We thought we learned something with COVID, but we didn’t learn anything. And that’s scary.” Her frustration was tangible, not just with fashion, but with the regression in so many areas: women’s rights, LGBTQ+ rights. “We’ve gone back 50 years why are people so afraid of who’s different?” she wondered, as if the answer was going to float up in our midst.

And then, when I asked her to recap the most unexpected and powerful moment of her career, Diane took pause. “Wow, I don’t know,” she finally said. “There have been a lot of high points. As a designer, it was amazing when people were interested in my collection and wanted to buy it.” But then, with a glint in her eye, she added: “However, the real high point for me now is having a wonderful team. I love my team, I wouldn’t do anything without them.”

As we left our conversation, I felt I’d been in the presence of someone who transcends the industry that defined her. Diane Pernet is not just a figure in fashion and film; she is a force of nature, a woman who walks easily in the shadows because she knows she carries her own light. And Diane, like a high priestess, shows us that it’s not just about surviving in the dark, it’s about transforming it. And what Diane Pernet is leaving behind is not only a deep and enigmatic legacy as the woman she is, but she has created a shadow so powerful that it guides and illuminates everything around her.