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Monthly Archives: January 2010
Dossier in Conversation with Not Just A Label
originally published in


“Fashion finds its freedom in the art of individuals; Not Just A Label is a place for those who find their way off the beaten track, allowing them to express themselves in a community where everything goes…break the mould, redefine the expected, re-colour the palette, inspire and be inspired.”
Launched in 2008 and founded by Stefan Siegel, NOT JUST A LABEL (NJAL) has infiltrated the fashion hierarchy with a democratic approach to style: an online, fee-free designer showcase. The site enables avant-garde and emerging designers to gain worldwide exposure in a carefully curated and respected forum, regardless of financial restrictions. Additionally, the company introduces these select designers to important industry leaders—from boutiques to fashion houses to editors to celebrities—fostering a new generation of sustainable, conscientious and vanguard talent.
Sarah Sulzberger Perpich: What did you do before NJAL?
Stefan Siegel: Everything and nothing. After my studies, I worked in fashion, media, finance and advertising while discovering the world…
Sarah: Have you always been interested in fashion?
Do Larger Silhouettes really mean Larger Sizes?

From V Magazine - photo by Sølve Sundsbø
The current fascination with plus-size models and the introduction of plus-size models on runways and in fashion spreads seems to send a hopeful message: one of acceptance of the female form at any size, from an industry that often seems obsessed with an unattainable thinness that young girls then aspire to achieve.
We applaud when we see a plus-size model on the catwalk, yet one plus-size model in a show or a season does not a trend make. When most of the world looks like that round curvy model, saluting the designer who uses her on the runway and praising him for his bravery seems artificial.
Plus-size models on the runway are nothing new. From Marthae Lagache, Dianne Brill, Mia Tyler and Kate Brill to current darling Crystar Renn, fashion editors will always find their beautiful size 12 girl. But can they ever break the cemented size 2 mold? Every five or ten years I feel like a plus-size model (and when I say plus I mean a normal size 12 – smaller than the majority of the population of the U.S.) rises and attracts attention in the press and fashion world. However the chatter eventually fizzles and nothing changes in the end. It’s almost as if that 15 minutes of fame for the plus-size model makes it okay in our culture to use the unusually thin and unrealistic body types the rest of the time.

From V Magazine - photo by Terry Richardson
A recent fashion spread featured a plus-size model paired with a size two model wearing several identical outfits. These were all by high-end, recognizable and cult like designer labels. For that shoot I am guessing that the designers were asked to make the larger outfits especially for the issue.

From V Magazine - photo by Sølve Sundsbø
What particularly irked me was that in the rest of the spreads with plus-size models, most of the clothing was either something easy like a bathing suit or body suit by a well-known design house or clothing from lesser-known designers that actually might make the larger sizes. These spreads can barely be defined as fashion layouts when in most of the pictures the models are wearing barely any clothing at all. For example in one shot the model is lying down only wearing shoes…is that because of a lack of designer clothing in the larger sizes?

From V Magazine - photo by Sølve Sundsbø
Plus-size models don’t need to fit a mold to model designer handbags, shoes and jewelry, but the lack of high-end designer clothing challenges the idea that the fashion world is becoming more accepting of all sizes of women – or even recognizing that larger sizes are the norm. It is easy to miss, but once examined closely the majority of the fashion spreads used with plus size models use very little high-end labels for the clothing. Sure if a famous fashion editor wants to use a high end designer’s clothing for a specific shoot a request for a larger size can be made, but that is the exception. We cannot make a true example out of one exception can we?
Dossier in Conversation with Diane Pernet
Originally published in


Image by Miguel Villalobos
Renowned for her uncompromising monochromatic style, Diane Pernet is not only a true individual but also a true pioneer, influencing and garnering respect for the world of online fashion editorial through her innovative blog, A Shaded View on Fashion, and revolutionizing fashion in film with her annual film festival, A Shaded View on Fashion Film. Pernet uses these forums to present a unique and informed point of view shaped by a diversified background, which includes stints as a prominent designer and editor. Her current incarnation as a multimedia industry innovator defies definition and, like all significant work, challenges traditional boundaries, redefining the way in which fashion is consumed, interpreted, shared, seen, and even created.
Sarah Perpich: Can you tell me a little about your early work as a designer?
Diane Pernet: I designed my own collection of elegant, sensual, minimal designs for 13 years. Five of those years, in addition to my signature line, I had a license with Seibu in Tokyo. I was the founder and the designer. The only collaborators were my team of sample and pattern makers, then people that helped with my shows.
Sarah: How does your previous work, both designing and working in fashion editorial at Joyce magazine, Vogueparis.com, Fashion Files, Elle.com, etc., influence your blog today?
Diane: All of one’s experiences come in handy. I was a designer in New York with a license in Tokyo. That was my first introduction to Japan. The fact that I was a designer is a strong motivation for wanting to help [designers] now. I was the women’s fashion editor for Joyce Ma’s magazine, Joyce, for four and a half years. I worked with the stylists, photographers and the magazine team. Elle.com and Vogueparis.com were interesting and a good presence on the Internet. At Elle I had my own styling advice column called Dr. Diane. For Fashion Files, it was assisting the producer—and [it was] my first job in Paris after costume designing. It’s funny how life goes; the producer of Fashion Files had two of her films featured in A Shaded View On Fashion Film first edition, and she was thrilled. So everything is valuable today on my blog.
Sarah: How is the second edition of ASVOFF different from the first?
Diane: The second edition was the first with a sponsor, SAMSUNG, which allowed us to do more things. We had an installation, a concert and a party, along with the three days of films. We had the awards ceremony at the Centre Pompidou with Rick Owens as the president of my jury this year.
Sarah: Of all your various roles, which have you enjoyed the most? (more…)

