Diane Pernet - Fashion Icon, Journalist, Blogger and Founder of ASVOFF Fashion and Film Festival
黛安．佩爾內 Diane Pernet—驅動潮流的時尚領袖
文字/康傳榆
Photo by David Shih, London 2012
https://ashadedviewonfashion.com
I used to glimpse Diane's gauzy shadow during fashion week when I was still a student, living in Paris, in 1997. She would emerge mysteriously on her own and then disappear again, almost in a whiff of smoke. I was so intrigued. By her powerful look, I knew she was an important figure in fashion but I always wondered exactly who she was underneath all that black.
我時常在時裝週驚鴻一瞥黛安的身影。
當時是1997年，我正在巴黎念書，她總是突然現身又神秘消失，宛若殘風捲影。根據她魄力十足的裝扮，我猜測她應該是時尚圈的重要人物，但最令我好奇的，其實是她包裹在一身黑衣底下的真實面貌。
Diane continued to be an enigma for three years until 2000 when, fortunately, we were both invited to Switzerland for the same fashion event, Gwand's Swiss Textiles Award. I'll always remember the very first time we spoke. I was so surprised and delighted at how warm, friendly and easy-going she was. After that, Diane came to a few of my Secret Rendez-Vous parties in Paris and we gradually grew closer. Diane would visit me in London, staying in the little pink room in my Brick Lane flat. Seeing Diane's severe silhouette on my frilly white lace canopy bed surrounded by cute pastels and Victorian antiques was quite unforgettable. Just like when she and I walked down the gritty streets around Brick Lane. The people who had lived there for generations didn't know what to think. Perhaps that we were aliens. They looked utterly baffled.
三年過去，黛安對我而言仍像個謎，直到2000年，我們同時幸運獲邀到瑞士出席《葛宛德瑞士布料大獎（Gwand Swiss Textiles Award）》，我永遠記得第一次交談時，黛安是如此的溫和友善好相處，令我相當驚喜。
後來，黛安參加了幾次我在巴黎舉辦的「祕密結社（Secret Rendez-Vous）」派對，我們逐漸熟悉彼此。她會到倫敦拜訪我、以及我當時在倫敦紅磚巷（Brick Lane）的粉紅色小公寓。看著她闇雅的身影坐在我充滿白色蕾絲荷葉邊的床上、被可愛的粉色與維多利亞時期古董環繞，實在令人印象深刻。我想，大概如同我們一起行走在紅磚巷的砂礫街道，在此地居住數個世代的居民顯得手足無措又莫名其妙的模樣—他們可能以為我們是來自外星的生物。
Diane has been a wonderful friend and supporter of mine over the years. She is like a dream mentor for anyone with serious talent and passion, so generous with her time and advice. She has recommended me for various fashion projects including my collaboration with Absolut Vodka which first brought me back to Taiwan. I had been abroad for seven years so it was the ultimate homecoming. How wonderful that it was made possible by someone as special as Diane, someone with so much integrity.
黛安向來是最完美的朋友與支持者。她像每個人心目中理想的導師，擁有驚人的才華與熱情，總是大方給予建議。她曾多次引薦我至各式各樣的時尚專案，包括首次讓我衣錦還鄉的絕對伏特加（Absolut Vodka）合作案—那是我離家七年後，第一次踏上故鄉的土地，對我而言是難以言喻的美妙機運，特別是由黛安這位意義非凡的朋友促成。
Photo by David Shih, London 2012
After many years tireless work, she leveraged her cultural capital as fashion’s foremost blogger to launch her own fashion film festival, a big bet that has paid off. The festival takes place every year at the Pompidou Centre in Paris, and travels to the Guggenheim, the Barbican, Art Basel Miami and the Cannes Film Festival. Diane has created a fashion revolution, offering a new way of showing work through a platform where filmmakers and designers can give full expression to their passion.
經多年努力，黛安利用自身的文化影響力下了個大賭注—創立ASVOFF時尚電影節（A Shaded View of Fashion Film Festival）。電影節每年於巴黎龐畢度中心舉辦，然後在紐約古根漢美術館（Guggenheim）、倫敦巴比肯藝術中心（Barbican）、邁阿密巴賽爾藝術博覽會（Art Basel Miami）、以及坎城國際影展（Festival de Cannes）巡迴舉辦，近年來，巡演的城市不斷增加，越來越多青年創作者投入時尚電影領域，她不但提供電影製作人與設計師展示作品、燃燒熱情的嶄新平台，更創造了一場時尚革命。
Tell us about yourself and your work
I was born in Washington DC, left at the age of 3 and grew up outside of Philadelphia. I always loved fashion but never had a great ability to draw, which is why I put the idea of becoming a fashion designer in the back of my mind for many years while I studied film instead. My parents used to take my sister and I to the cinema regularly. We watched a lot of avant-garde and foreign films that left a strong impression on me. Fashion and film have always been my two passions.
與我們聊聊關於你、以及你的工作吧？
我出生於美國首都華盛頓，但三歲時搬到費城郊區，並在當地長大。
實際上，我的專業是電影，在我與妹妹年幼的時候，雙親經常帶我們到電影院，我們看了許多前衛和外語電影，這些都帶給我極大的影響。
我一直熱愛時尚，可惜沒有繪畫的才能，所以大學選擇研讀電影時，曾暫時將「成為一位時尚設計師」的想法拋諸腦後，但「時尚」與「電影」永遠是我的兩大熱愛。
When I finished studying film at university, I spent a lot of time behind the camera. As a curious young photographer, I found myself drawn to exploring intimacy – whether that meant capturing a tender moment of my husband at home or taking portraits of residents in an insane asylum where my sister worked. But it wasn’t long before I moved to New York City and started designing clothes. I had decided to leave FIT and Parsons after less than a year because the education system in American fashion schools back then wasn't creative enough. I was one of a handful of designers that people were calling the 'New York avant-garde'. But I never thought that the description really suited me. I remember the fashion industry newspaper WWD writing that I was a 'downtown vamp' for one of their cover shoots using my clothes but, in the same article, they called my designs 'seductively stark and the work of a linearist'. I suppose I was always hard to categorize.
剛完成大學學業時，我在相機與攝影上消磨許多時光。作為一位年輕又好奇的攝影師，我發現自己熱衷於以攝影傳遞人們的私密互動—無論是捕捉與我丈夫在家相處的溫和時光、或拍攝我妹妹服務的精神病院患者肖像。不過，這段時期並不長，後來我搬到紐約並重拾時尚設計師的夢想。
但我在紐約設計學院（Fashion Institute of Technology）和帕森設計學院（Parsons School of Design）研讀不到一年就決定休學自行創作，因為當時美國時尚教育體系對創意的啟發仍略顯不足，而我是少數被人們稱為「紐約前衛藝術派（New York avant-garde）」的設計師之一，雖然我從未覺得自己與此頭銜相匹配。
我仍記得時尚產業新聞《女裝日報（Women's Wear Daily）》以我設計的服裝拍攝封面、並描述我的風格是「來自下城的吸血鬼（Downtown Vamp）」，但同一篇報導又稱我的設計「赤裸地誘惑且難以界定」，我猜，自己或許真的難以被歸類。
La Encartada Fashion and Art event Bilbao, Spain 2014
Back when Anna Wintour was still climbing her way to the top of the publishing world, she styled an editorial featuring my label which was pretty underground for the time. It felt like we were all touched by the creative buzz of the 1980s. For another shoot, I cast a very young Naomi Campbell still jetlagged from London where she’d been scouted not long before. But Neith Hunter was the model who I relied on to embody my brand. And it was through travel that I was often inspired to keep designing: Indian monasteries, Sicily’s grand vistas and the streets of Japan where I’d often be in order to meet my department store clients. But by the end of the 1980s, New York was changing beyond recognition – and not necessarily for the better, I might add. It had become like Blade Runner and it was time to leave. I chose Paris.
1980年代的各種創意總是能輕易觸動人心，在安娜．溫圖（Anna Wintour）仍努力奮鬥爬向出版業頂端的日子，她曾以我的品牌搭配、拍攝一系列在當時非常前衛的時尚大片；我也曾在另一組攝影作品中，拍攝剛被經紀人從倫敦發掘、非常年輕的娜歐蜜．坎貝兒（Naomi Campbell），不過，我的個人品牌形象謬思是美國模特兼演員，奈斯．杭特（Neith Hunter），而啟發我持續設計的動力則是「旅行」—無論是印度寺廟、西西里壯闊美景、或是為拜訪百貨公司客戶而經常前往的日本街道（我在街道上消磨的時光甚至遠超過拜訪客戶的時間）。
可惜在1980年代末期，紐約突然變得面目全非—而且必須說它並非變的更好。紐約彷彿瞬間變成電影《銀翼殺手》的場景一般，讓我感到或許到了離別的時刻，索性選擇前往巴黎。
Mei Hui exhibition at La Encartada Fashion and Art event Bilbao, Spain 2014
During the early years in Paris, I spent a lot of time exploring. I did costume design for directors like Amos Gitai and assisted the producer of 'Fashion Files' on the CBC television network and worked as a fashion editor and journalist. I was also asked to be captured on the other side of the movie camera for cameo appearances in Robert Altman’s film, Prêt-à-Porter and in Roman Polanski’s The Ninth Gate. I started writing for Elle.com and then I moved to Vogueparis.com (before it became Vogue.fr) in the early years of digital publishing. Then of course I started my own blog A Shaded View on Fashion (www.asvof.com) which was one of the very first fashion blogs. I was later invited to a seminal exhibition about blogging at New York’s Metropolitan Museum of Art so I guess I became what people call a digital pioneer.
在巴黎頭幾年都在努力拓展人際關係。我曾為以色列導演阿莫斯．奇泰（Amos Gitai）設計戲服、協助加拿大廣播電視公司（CBC Television Network）製作電視節目《時尚檔案（Fashion Files）》、同時還擔任時尚編輯與撰稿人。我甚至在勞勃．阿特曼（Robert Altman）的電影《雲裳風暴（Prêt-à-Porter）》以及羅曼．波蘭斯基（Roman Polanski）的電影《鬼上門（The Ninth Gate）》中客串演出。
新媒體剛起步之初，我便為時尚雜誌《ELLE》的網站Elle.com撰稿，後來跳槽至《VOGUE》雜誌巴黎版網站Vogueparis.com（已更名為Vogue.fr）。當然，我也創立了自己的部落格A Shaded View of Fashion（www.asvof.com），簡稱ASVOF，是最早的時尚部落格之一，還曾因此受邀參與紐約大都會藝術博物館（The Metropolitan Museum of Art）策畫及關於部落格趨勢的展覽，我想自己大概就是人們所謂的「數位先鋒」吧。
I still do enjoy working in a multidisciplinary way, but now I am most focused on nurturing the 'fashion film' genre through my festival ASVOFF which was the first of its kind in the world. It takes place each year at the Centre Pompidou in Paris before it makes a world tour to fashion weeks and places like the Guggenheim, the Barbican, Art Basel Miami and the Cannes Film Festival. I'm lucky to collaborate every year with some of the most exciting and legendary photographers, film directors and fashion designers for my festival.
我非常享受多方位的工作模式，但目前時間多半投注在我的電影節ASVOFF（A Shaded View of Fashion Films），它是世界上第一個專注於時尚電影（Fashion Film）的電影節，希望藉機培育此類別的作品。最初，電影節每年固定於巴黎龐畢度中心舉辦，後來逐步與世界四大時裝週、紐約古根漢美術館、倫敦巴比肯藝術中心、邁阿密巴賽爾藝術博覽會以及坎城國際影展等活動巡迴合作。我感到非常幸運，因為電影節每年都能和許多傳奇性、令人感到興奮的攝影師、導演、還有時尚設計師共同合作。
Diane, Mei-hui and Robb, 2012
How do you relate to East London?
I go to London mostly during fashion week. I started covering the London shows around the new millennium when I was working with Disciple Films doing documentary reports called 'Fashioned Out' about the fashion capitals. I have always loved the energy in London. I guess what is most apparent in east London is the way that people can genuinely have fun with fashion. I always end up spending most of my time in this neighbourhood when I'm in London.
你與東倫敦之間的連結為何？
大約千禧年左右，為了幫Disciple Films製片公司製作一檔介紹世界時尚之都的節目《時尚逤造（Fashioned Out）》，我開始出席倫敦的時裝秀，多半在時裝週期間拜訪倫敦。
我非常喜愛倫敦的活力，我猜這也是東倫敦的特徵之一，因為人們總能發揮各種潛能與想像力在時尚中尋找樂趣，所以倫敦旅行期間，我幾乎待在東倫敦。
What about your memories of Secret Rendez-Vous?
That is how we got acquainted. You had Patrick Wolf performing at a club in Paris and I remember that the club owners hated his music so much that they literally pulled the plug. It was a breath of fresh air but London's energy is so very different from Paris's. The Parisian manager thought he wanted something new and cool from London but, actually, he couldn't handle it. You were dressed like a doll as you always were in those days when your email was showercapmei@.
請與我們分享你對祕密結社（Secret Rendez-Vous）的回憶？
祕密結社（Secret Rendez-Vous）是我們相熟的緣起，你當時按慣例將自己打扮得像隻洋娃娃，電子郵箱地址仍是@showercapmei，我記得你邀請派屈克．沃爾夫（Patrick Wolf）到巴黎一間夜店表演，但店主人超討厭他的音樂，他們甚至拔掉插頭企圖終止演出。那位巴黎經理以為自己想找一些倫敦最新、最酷的東西，結果他根本無法接受，因為對當時的巴黎而言，祕密結社是一股來自倫敦，全然不同的新氣象。
ASVOFF Festival in Pompidou Center, Paris 2014
How have you seen East London change over the last 10 years?
Since I live in Paris, I'm not in East London often enough to see the daily and weekly change everyone talks about. But of course I notice major changes each time I return. Streets look entirely different. It has become a lot glossier and much more convenient although more expensive too now that all the new shops, cafes, bars and clubs keep mushrooming. But the essence is the same. Even if the neighbourhood has recently become gentrified, it is still about experimentation and having a good time. London parties are probably still some of the most fun in the world.
請問你如何看待東倫敦近十年的變化？
由於長居巴黎，我無法細緻觀察東倫敦的分秒變化或人們的時刻話題，可每次回訪都能發現差異之處—街道看起來全然不同，相比以往變得光鮮亮麗且舒適，但消費水準也變高了。新的商店、咖啡店、酒吧以及夜店宛如雨後春筍般冒出，不過，本質並未改變，既使整個社區近年來有高級化的趨勢，卻仍保有「實驗」與「喜歡享受美好時光」的氛圍，綜觀世界，倫敦或許是少數仍有許多「好玩事物」的聚落。
How does East London inspire you?
Many of my inspiring friends and the interesting fashion people I've met over the years have been nurtured there. That's probably the biggest contribution East London has made to me – the people who have been touched by East London who are now part of my life.
東倫敦如何啟發你？
我認識許多充滿啟發性的朋友或有趣的時尚人士都來自此地—這大概是東倫敦給我最大的禮物—無時無刻的被他們觸動彷彿已成為生活的一部份。
www.ashadedviewonfashion.com
www.ashadedviewonfashionfilm.com
Diane wears Victim dress at Alice in Wonderland Exhibition at the Wapping Project, 2007
GWAND FESTIVAL Switzerland, 2001
Nag Nag Nag Night Club London, 2002
Diane Pernet, Patrick Wolf & Robb Young at SRV Party Monky Club, 2000
Diane Pernet Fragrancy Launch at Liberty with Sue, 2015
文字/康傳榆
Photo by David Shih, London 2012
https://ashadedviewonfashion.com
I used to glimpse Diane's gauzy shadow during fashion week when I was still a student, living in Paris, in 1997. She would emerge mysteriously on her own and then disappear again, almost in a whiff of smoke. I was so intrigued. By her powerful look, I knew she was an important figure in fashion but I always wondered exactly who she was underneath all that black.
我時常在時裝週驚鴻一瞥黛安的身影。
當時是1997年，我正在巴黎念書，她總是突然現身又神秘消失，宛若殘風捲影。根據她魄力十足的裝扮，我猜測她應該是時尚圈的重要人物，但最令我好奇的，其實是她包裹在一身黑衣底下的真實面貌。
Diane continued to be an enigma for three years until 2000 when, fortunately, we were both invited to Switzerland for the same fashion event, Gwand's Swiss Textiles Award. I'll always remember the very first time we spoke. I was so surprised and delighted at how warm, friendly and easy-going she was. After that, Diane came to a few of my Secret Rendez-Vous parties in Paris and we gradually grew closer. Diane would visit me in London, staying in the little pink room in my Brick Lane flat. Seeing Diane's severe silhouette on my frilly white lace canopy bed surrounded by cute pastels and Victorian antiques was quite unforgettable. Just like when she and I walked down the gritty streets around Brick Lane. The people who had lived there for generations didn't know what to think. Perhaps that we were aliens. They looked utterly baffled.
三年過去，黛安對我而言仍像個謎，直到2000年，我們同時幸運獲邀到瑞士出席《葛宛德瑞士布料大獎（Gwand Swiss Textiles Award）》，我永遠記得第一次交談時，黛安是如此的溫和友善好相處，令我相當驚喜。
後來，黛安參加了幾次我在巴黎舉辦的「祕密結社（Secret Rendez-Vous）」派對，我們逐漸熟悉彼此。她會到倫敦拜訪我、以及我當時在倫敦紅磚巷（Brick Lane）的粉紅色小公寓。看著她闇雅的身影坐在我充滿白色蕾絲荷葉邊的床上、被可愛的粉色與維多利亞時期古董環繞，實在令人印象深刻。我想，大概如同我們一起行走在紅磚巷的砂礫街道，在此地居住數個世代的居民顯得手足無措又莫名其妙的模樣—他們可能以為我們是來自外星的生物。
Diane has been a wonderful friend and supporter of mine over the years. She is like a dream mentor for anyone with serious talent and passion, so generous with her time and advice. She has recommended me for various fashion projects including my collaboration with Absolut Vodka which first brought me back to Taiwan. I had been abroad for seven years so it was the ultimate homecoming. How wonderful that it was made possible by someone as special as Diane, someone with so much integrity.
黛安向來是最完美的朋友與支持者。她像每個人心目中理想的導師，擁有驚人的才華與熱情，總是大方給予建議。她曾多次引薦我至各式各樣的時尚專案，包括首次讓我衣錦還鄉的絕對伏特加（Absolut Vodka）合作案—那是我離家七年後，第一次踏上故鄉的土地，對我而言是難以言喻的美妙機運，特別是由黛安這位意義非凡的朋友促成。
Photo by David Shih, London 2012
After many years tireless work, she leveraged her cultural capital as fashion’s foremost blogger to launch her own fashion film festival, a big bet that has paid off. The festival takes place every year at the Pompidou Centre in Paris, and travels to the Guggenheim, the Barbican, Art Basel Miami and the Cannes Film Festival. Diane has created a fashion revolution, offering a new way of showing work through a platform where filmmakers and designers can give full expression to their passion.
經多年努力，黛安利用自身的文化影響力下了個大賭注—創立ASVOFF時尚電影節（A Shaded View of Fashion Film Festival）。電影節每年於巴黎龐畢度中心舉辦，然後在紐約古根漢美術館（Guggenheim）、倫敦巴比肯藝術中心（Barbican）、邁阿密巴賽爾藝術博覽會（Art Basel Miami）、以及坎城國際影展（Festival de Cannes）巡迴舉辦，近年來，巡演的城市不斷增加，越來越多青年創作者投入時尚電影領域，她不但提供電影製作人與設計師展示作品、燃燒熱情的嶄新平台，更創造了一場時尚革命。
Tell us about yourself and your work
I was born in Washington DC, left at the age of 3 and grew up outside of Philadelphia. I always loved fashion but never had a great ability to draw, which is why I put the idea of becoming a fashion designer in the back of my mind for many years while I studied film instead. My parents used to take my sister and I to the cinema regularly. We watched a lot of avant-garde and foreign films that left a strong impression on me. Fashion and film have always been my two passions.
與我們聊聊關於你、以及你的工作吧？
我出生於美國首都華盛頓，但三歲時搬到費城郊區，並在當地長大。
實際上，我的專業是電影，在我與妹妹年幼的時候，雙親經常帶我們到電影院，我們看了許多前衛和外語電影，這些都帶給我極大的影響。
我一直熱愛時尚，可惜沒有繪畫的才能，所以大學選擇研讀電影時，曾暫時將「成為一位時尚設計師」的想法拋諸腦後，但「時尚」與「電影」永遠是我的兩大熱愛。
When I finished studying film at university, I spent a lot of time behind the camera. As a curious young photographer, I found myself drawn to exploring intimacy – whether that meant capturing a tender moment of my husband at home or taking portraits of residents in an insane asylum where my sister worked. But it wasn’t long before I moved to New York City and started designing clothes. I had decided to leave FIT and Parsons after less than a year because the education system in American fashion schools back then wasn't creative enough. I was one of a handful of designers that people were calling the 'New York avant-garde'. But I never thought that the description really suited me. I remember the fashion industry newspaper WWD writing that I was a 'downtown vamp' for one of their cover shoots using my clothes but, in the same article, they called my designs 'seductively stark and the work of a linearist'. I suppose I was always hard to categorize.
剛完成大學學業時，我在相機與攝影上消磨許多時光。作為一位年輕又好奇的攝影師，我發現自己熱衷於以攝影傳遞人們的私密互動—無論是捕捉與我丈夫在家相處的溫和時光、或拍攝我妹妹服務的精神病院患者肖像。不過，這段時期並不長，後來我搬到紐約並重拾時尚設計師的夢想。
但我在紐約設計學院（Fashion Institute of Technology）和帕森設計學院（Parsons School of Design）研讀不到一年就決定休學自行創作，因為當時美國時尚教育體系對創意的啟發仍略顯不足，而我是少數被人們稱為「紐約前衛藝術派（New York avant-garde）」的設計師之一，雖然我從未覺得自己與此頭銜相匹配。
我仍記得時尚產業新聞《女裝日報（Women's Wear Daily）》以我設計的服裝拍攝封面、並描述我的風格是「來自下城的吸血鬼（Downtown Vamp）」，但同一篇報導又稱我的設計「赤裸地誘惑且難以界定」，我猜，自己或許真的難以被歸類。
La Encartada Fashion and Art event Bilbao, Spain 2014
Back when Anna Wintour was still climbing her way to the top of the publishing world, she styled an editorial featuring my label which was pretty underground for the time. It felt like we were all touched by the creative buzz of the 1980s. For another shoot, I cast a very young Naomi Campbell still jetlagged from London where she’d been scouted not long before. But Neith Hunter was the model who I relied on to embody my brand. And it was through travel that I was often inspired to keep designing: Indian monasteries, Sicily’s grand vistas and the streets of Japan where I’d often be in order to meet my department store clients. But by the end of the 1980s, New York was changing beyond recognition – and not necessarily for the better, I might add. It had become like Blade Runner and it was time to leave. I chose Paris.
1980年代的各種創意總是能輕易觸動人心，在安娜．溫圖（Anna Wintour）仍努力奮鬥爬向出版業頂端的日子，她曾以我的品牌搭配、拍攝一系列在當時非常前衛的時尚大片；我也曾在另一組攝影作品中，拍攝剛被經紀人從倫敦發掘、非常年輕的娜歐蜜．坎貝兒（Naomi Campbell），不過，我的個人品牌形象謬思是美國模特兼演員，奈斯．杭特（Neith Hunter），而啟發我持續設計的動力則是「旅行」—無論是印度寺廟、西西里壯闊美景、或是為拜訪百貨公司客戶而經常前往的日本街道（我在街道上消磨的時光甚至遠超過拜訪客戶的時間）。
可惜在1980年代末期，紐約突然變得面目全非—而且必須說它並非變的更好。紐約彷彿瞬間變成電影《銀翼殺手》的場景一般，讓我感到或許到了離別的時刻，索性選擇前往巴黎。
Mei Hui exhibition at La Encartada Fashion and Art event Bilbao, Spain 2014
During the early years in Paris, I spent a lot of time exploring. I did costume design for directors like Amos Gitai and assisted the producer of 'Fashion Files' on the CBC television network and worked as a fashion editor and journalist. I was also asked to be captured on the other side of the movie camera for cameo appearances in Robert Altman’s film, Prêt-à-Porter and in Roman Polanski’s The Ninth Gate. I started writing for Elle.com and then I moved to Vogueparis.com (before it became Vogue.fr) in the early years of digital publishing. Then of course I started my own blog A Shaded View on Fashion (www.asvof.com) which was one of the very first fashion blogs. I was later invited to a seminal exhibition about blogging at New York’s Metropolitan Museum of Art so I guess I became what people call a digital pioneer.
在巴黎頭幾年都在努力拓展人際關係。我曾為以色列導演阿莫斯．奇泰（Amos Gitai）設計戲服、協助加拿大廣播電視公司（CBC Television Network）製作電視節目《時尚檔案（Fashion Files）》、同時還擔任時尚編輯與撰稿人。我甚至在勞勃．阿特曼（Robert Altman）的電影《雲裳風暴（Prêt-à-Porter）》以及羅曼．波蘭斯基（Roman Polanski）的電影《鬼上門（The Ninth Gate）》中客串演出。
新媒體剛起步之初，我便為時尚雜誌《ELLE》的網站Elle.com撰稿，後來跳槽至《VOGUE》雜誌巴黎版網站Vogueparis.com（已更名為Vogue.fr）。當然，我也創立了自己的部落格A Shaded View of Fashion（www.asvof.com），簡稱ASVOF，是最早的時尚部落格之一，還曾因此受邀參與紐約大都會藝術博物館（The Metropolitan Museum of Art）策畫及關於部落格趨勢的展覽，我想自己大概就是人們所謂的「數位先鋒」吧。
I still do enjoy working in a multidisciplinary way, but now I am most focused on nurturing the 'fashion film' genre through my festival ASVOFF which was the first of its kind in the world. It takes place each year at the Centre Pompidou in Paris before it makes a world tour to fashion weeks and places like the Guggenheim, the Barbican, Art Basel Miami and the Cannes Film Festival. I'm lucky to collaborate every year with some of the most exciting and legendary photographers, film directors and fashion designers for my festival.
我非常享受多方位的工作模式，但目前時間多半投注在我的電影節ASVOFF（A Shaded View of Fashion Films），它是世界上第一個專注於時尚電影（Fashion Film）的電影節，希望藉機培育此類別的作品。最初，電影節每年固定於巴黎龐畢度中心舉辦，後來逐步與世界四大時裝週、紐約古根漢美術館、倫敦巴比肯藝術中心、邁阿密巴賽爾藝術博覽會以及坎城國際影展等活動巡迴合作。我感到非常幸運，因為電影節每年都能和許多傳奇性、令人感到興奮的攝影師、導演、還有時尚設計師共同合作。
Diane, Mei-hui and Robb, 2012
How do you relate to East London?
I go to London mostly during fashion week. I started covering the London shows around the new millennium when I was working with Disciple Films doing documentary reports called 'Fashioned Out' about the fashion capitals. I have always loved the energy in London. I guess what is most apparent in east London is the way that people can genuinely have fun with fashion. I always end up spending most of my time in this neighbourhood when I'm in London.
你與東倫敦之間的連結為何？
大約千禧年左右，為了幫Disciple Films製片公司製作一檔介紹世界時尚之都的節目《時尚逤造（Fashioned Out）》，我開始出席倫敦的時裝秀，多半在時裝週期間拜訪倫敦。
我非常喜愛倫敦的活力，我猜這也是東倫敦的特徵之一，因為人們總能發揮各種潛能與想像力在時尚中尋找樂趣，所以倫敦旅行期間，我幾乎待在東倫敦。
What about your memories of Secret Rendez-Vous?
That is how we got acquainted. You had Patrick Wolf performing at a club in Paris and I remember that the club owners hated his music so much that they literally pulled the plug. It was a breath of fresh air but London's energy is so very different from Paris's. The Parisian manager thought he wanted something new and cool from London but, actually, he couldn't handle it. You were dressed like a doll as you always were in those days when your email was showercapmei@.
請與我們分享你對祕密結社（Secret Rendez-Vous）的回憶？
祕密結社（Secret Rendez-Vous）是我們相熟的緣起，你當時按慣例將自己打扮得像隻洋娃娃，電子郵箱地址仍是@showercapmei，我記得你邀請派屈克．沃爾夫（Patrick Wolf）到巴黎一間夜店表演，但店主人超討厭他的音樂，他們甚至拔掉插頭企圖終止演出。那位巴黎經理以為自己想找一些倫敦最新、最酷的東西，結果他根本無法接受，因為對當時的巴黎而言，祕密結社是一股來自倫敦，全然不同的新氣象。
ASVOFF Festival in Pompidou Center, Paris 2014
How have you seen East London change over the last 10 years?
Since I live in Paris, I'm not in East London often enough to see the daily and weekly change everyone talks about. But of course I notice major changes each time I return. Streets look entirely different. It has become a lot glossier and much more convenient although more expensive too now that all the new shops, cafes, bars and clubs keep mushrooming. But the essence is the same. Even if the neighbourhood has recently become gentrified, it is still about experimentation and having a good time. London parties are probably still some of the most fun in the world.
請問你如何看待東倫敦近十年的變化？
由於長居巴黎，我無法細緻觀察東倫敦的分秒變化或人們的時刻話題，可每次回訪都能發現差異之處—街道看起來全然不同，相比以往變得光鮮亮麗且舒適，但消費水準也變高了。新的商店、咖啡店、酒吧以及夜店宛如雨後春筍般冒出，不過，本質並未改變，既使整個社區近年來有高級化的趨勢，卻仍保有「實驗」與「喜歡享受美好時光」的氛圍，綜觀世界，倫敦或許是少數仍有許多「好玩事物」的聚落。
How does East London inspire you?
Many of my inspiring friends and the interesting fashion people I've met over the years have been nurtured there. That's probably the biggest contribution East London has made to me – the people who have been touched by East London who are now part of my life.
東倫敦如何啟發你？
我認識許多充滿啟發性的朋友或有趣的時尚人士都來自此地—這大概是東倫敦給我最大的禮物—無時無刻的被他們觸動彷彿已成為生活的一部份。
www.ashadedviewonfashion.com
www.ashadedviewonfashionfilm.com
Diane wears Victim dress at Alice in Wonderland Exhibition at the Wapping Project, 2007
GWAND FESTIVAL Switzerland, 2001
Nag Nag Nag Night Club London, 2002
Diane Pernet, Patrick Wolf & Robb Young at SRV Party Monky Club, 2000
Diane Pernet Fragrancy Launch at Liberty with Sue, 2015
