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ラベル Fashion の投稿を表示しています。 すべての投稿を表示
ラベル Fashion の投稿を表示しています。 すべての投稿を表示

木曜日, 1月 26, 2012

ENK NYC Men's @ The Tunnel 1/22-24



今週の火曜日に最終日のENKNYCメンズのトレードショーに行ってきました。The Tunnelという名前の魅力的な会場にすっかり魅せられながら、2012-13秋冬メンズファッションの動向を探ってきました。

今回のショーではアウトドアからビジネススタイルにいたるまで、贅沢なカジュアルトレンドが全体を占め、その中に伝統的なディテールを凝らしたアイテムやテーラードが多く見られました。どこも手堅くこの トレンドを意識していたせいか、カラーパレットも合わせてどこもルックが横並びという印象を持ちました。


その分、バイヤーにとって厳選された素材による着心地と、着た時に差のつく仕立ての良さなどがオーダーの決め手となったようです。ベンダーは、ただ商品をハンガーにかけているより も、幾つもマネキンを用意してディスプレイしたり、触りやすくブースにアイテムを広げている方に自然とバイヤーの足も止まり、軍杯が上がっていた気がします。

気になったブランドは、Showroom Sevenが扱っている Gudrun & Gudrunのニット。手編みのウール100%セーターは、素肌に着たらチクチクしそうな、ちょっぴりごわついた手触りなのですが、その野性的な質感と、白、オフホワイト、ブラック、グレー、ベージュといった都会的な色の組み合わせがとても新鮮に映りました。今後も人気が続きそうなテーラードアイテムの快適さとは一線を画すプリミティブな方向性にも注目していきたいです。12月はニューヨークの街のショーウィンドウに、少し不気味な動物の剥製が多く登場していました。まだ言葉になっていないムードのようなものをとても感じます。

この展示会場となったThe Tunnelは、調べてみると実に面白い...のですが、夜も更けて参りましたので続きは、次回へ!

水曜日, 1月 25, 2012

水曜日, 1月 04, 2012

Rapha + Paul Smith/ラファ+ポール・スミス


イギリスのサイクリングウェアブランド「Rapha」。一昨年の夏、マンハッタンのイーストビレッジにポップアップストアを出店。抜群のセンスの良さが目にとまり、たまたまショップへ立ち寄って以来大ファンになりました。残念ながらニューヨークには現在フラッグシップストアはありませんが、Paragon SportsJack Spadeが数点取り揃えている他、Raphaウェブサイトからオンラインで手軽に購入することが出来ます。

*世界11カ国での取り扱い店舗世界のサイクリング業界でも、日本はイタリアに次ぐ水準の高さだけあって既に全国7店舗で正規取り扱いがあります。目利きが揃う日本のバイヤーと、日本市場の魅力を理解出来る優良ブランドとの相思相愛を感じます❤


どのアイテムも兎に角オシャレでクール。全て欲しくなってしまうのですが、価格帯が意外と高めなんです。ジャケットで$300~400。$700のアウターもあります。ここで、Rapha をひと目で気に入ってしまった私のような人に朗報!現在50%オフ近いセールが開催中です!交換・返品手続きもオンラインで手軽に出来るので、是非お試しを。


さて、去年末に購入したジャケットは、なんとPaul Smithrとのコラボレーション。Raphaオリジナルブランドも充分都会的なデザインながら、今回はPaul Smithとのコラボによってさらにアイテムに遊び心と上品なポップさが加わりました。
   

着心地も抜群。薄い生地なのに風を全く通さないため、0度近い日でも快適。中にヒートテックなどを含め重ね着すればOK。サイクリング風にぴっちりサイズで合わせてもよし、又はちょっぴりゆとりのあるサイズでもよし。その時は腰回りのゴムひもで調節出来ます。
始めてRaphaを知った年には、こちらのニット帽を購入。自転車に乗るのが3倍楽しくなりました。可愛らしいのに、耳までしっかりあたたかい防寒アイテム。もちろんこの帽子の上からも、ヘルメットは被れます!
目指すのは、サイクリングウェアのように機能的でありながら、都会的な装い。自転車から降りて、そのままブティックへ寄ったり、レストランへ気兼ねなく入って行けるバイクウェア。今のところそのニーズにぴったりなのがRaphaブランドでしょう。自転車好きで有名なPaul Smithには、今後とも是非このコラボを続けて欲しいです。

マンハッタンでみる限りでは需要があまりないのか、どのブランドもレディースアイテムがメンズに比べてかなり少なめ。生産量を考えて供給すれば、利益が出せる市場になるかも。アパレル及びデザイナーのみなさま、今後レディース・サイクリングウェアへの進出を考えてはいかがでしょうか?



The Paul Smith designed for Rapha bicycle jacket makes your pedaling triple fun! Super wearable yet keeps you warm in cold air. Def recommended for urban bikers. Now on sale!



月曜日, 11月 28, 2011

ウェストサイド・ルネッサンス/West Side Renaissance


マンハッタンの南西部に位置するチェルシーの住人にはちょっと興味深い今日の記事。2013年に向けて地下鉄7ラインが、34丁目と11thアベニューに駅の建設を計画中だ。

ブルームバーグ市長が2012年の夏期オリンピックをニューヨークへと招致したが、ロンドンに破れた。それによりこの地区が新たなスタジアム建設の構想から外れたことが、マンハッタンにとって幸いとする声がある。

決して6thアベニューのようなオフィス街にはなり得ない、とされる11thアベニューだが、そんな日が意外と早くやってきそうだ。ハイラインが第三期の工事に取りかかり、ミートパッキング地区のワシントンストリートのように、30丁目から上もあっという間に一変することが予想され、さらに既に決定しているCoachの出店で、他のリテールに拍車がかかりそうだ。オフィスとしても、様々なトレードショーの会場となるジャビッツセンターも至極で、何よりNJからフェリーで通勤する者にも嬉しい立地だろう。

現在のハイライン(第二期工事終了後)の北端にある"Ohm"というラグジュアリーな賃貸アパートは、新進気鋭のアーティスト、フィルムメーカー、起業家らで埋まっているという。1919年〜1930年代にアフリカ系アメリカ人の芸術が開花した「ハーレムルネッサンス」をもじってか、早くもこの辺りを「ウェストサイド・ルネッサンス」と呼ぶ声もあるようだ。




New York Times: November 27, 2011

From Ashes of Olympic Bid, a Future Rises for the Far West Side

Late in his first term, Mayor Michael R. Bloomberg suffered a stinging defeat when, after an extensive planning and public relations effort, New York City lost its bid to host the 2012 Summer Olympics.
Now, though, a vibrant neighborhood is rising in the area where the Olympic stadium and complex would have stood on the Far West Side of Manhattan. As a result, officials, developers and urban planners are embracing an unlikely notion: the Olympic bid’s defeat may have been one of the best things to happen for the city’s growth in recent memory.
The Bloomberg administration repurposed many elements of the bid to create Hudson Yards, the commercial and residential district taking shape west of Eighth Avenue, a once-desolate area of factories, lofts and parking lots between 30th and 43rd Streets.
Fifteen sleek residential towers have sprung up since 2005, the year that the Olympic bid was rejected, and a dozen hotels have muscled their way onto these blocks.
This month, one of the city’s biggest developers, the Related Companies, announced tentative plans to erect a 51-story office tower on the spot where the Olympic stadium would have stood, with Coach, the luxury retailer, as the anchor tenant.
No one expects the Far West Side to look like the office canyons on Avenue of the Americas anytime soon. Another deep recession in the next few years could undermine nascent plans.
Still, city officials predict that within two decades, Hudson Yards could have more office space than Baltimore or Portland, Ore., and as many apartments as Stamford, Conn.
An extension of the No. 7 subway line from Times Square to 34th Street and 11th Avenue, at a cost of more than $2 billion, is two-thirds complete and set to open in December 2013. Work is to begin early next year on a new tree-lined boulevard between 10th and 11th Avenues. Both of these projects were originally conceived for the 2012 Olympics.
Some planners pointed out that if the Games had been held in New York, the city most likely would have had to cover billions of dollars in cost overruns. It also would have been stuck with many underused sports facilities, including the stadium.
“It’s ironic that the Hudson Yards was born out of the loss of the Olympic bid,” said Jeffrey S. Katz, who owns three large development sites in the district. “At the end of the day, it turns out to be better for the city that the Olympic stadium is not there. We’re building a new, vital part of the central business district.
“Imagine what a big stadium would’ve been like. It would have dominated the area, and not necessarily in a good way.”
The rejuvenation of the neighborhood and the expansion of the business district could be among Mr. Bloomberg’s most enduring legacies, achieving a goal that eluded Mayors Edward I. Koch, David N. Dinkins and Rudolph W. Giuliani. Each failed to remake this industrial area after the shipping piers disappeared and the garment district withered.
Even Mr. Bloomberg, who allowed that he “hates to lose,” said that in retrospect, the failure of the Olympic bid may have been a blessing for the city.
“Given what happened to the economy, it would’ve been tough to raise all the money,” Mr. Bloomberg said in an interview.
But, he added, his administration pushed ahead with many of the projects and land-use changes that were contained in the Olympic proposal, not just on the Far West Side, but in other parts of the city as well.
“We thought the Olympics would be the catalyst to get a lot of things that many people thought the city needed,” he said. “In fact, many got done” anyway.
From the day he took office in 2002, Mr. Bloomberg made the Olympics, as well as the redevelopment of the Far West Side, a signature initiative.
The proposal’s chief architect, Daniel L. Doctoroff, a former deputy mayor under Mr. Bloomberg, combined a series of new or refurbished sports facilities across the five boroughs with plans for the redevelopment of waterfront industrial areas.
The rezoning of the West Side for commercial towers was necessary for New York’s survival as an international center of finance, media and communications, Mr. Doctoroff and others argued, because Manhattan was running out of room for development.
But the Olympic plan was also tied to an unpopular proposal for a $2 billion stadium and an expanded convention center nearby.
While Mr. Bloomberg lost the Olympic bid, he won the rezoning effort in 2005, with plans for up to 24 million square feet of office space and more than 13,000 apartments.
The Metropolitan Transportation Authority selected the Related Companies to develop 12 commercial and residential towers, a park and a cultural center over the rail yards between 10th and 12th Avenues, from 30th to 33rd Streets.
Since then, the Bloomberg administration has invested heavily on the Far West Side, including $3 billion in bonds for the subway extension, new parks and the boulevard between 10th and 11th Avenues, a remnant of the Olympic plan.
The administration has had to tap into the city budget to cover interest payments on the bonds. That cost will be $557 million by 2015, officials said.
The view from the roof of the Ohm, a 34-story rental building that opened in 2010 at 30th Street and 11th Avenue and has attracted tenants who work in the fashion and media industries, offers a sense of how much things have changed on the Far West Side.
There are residential towers on the northern border, along 42nd Street; new hotels and apartment buildings pushing westward from Eighth Avenue; and new residential towers marching northward along the High Line, the elevated park in Chelsea.
A major developer, Avalon Bay, is about to begin construction of its largest residential complex, with 700 rental apartments and a 30-story tower, at 11th Avenue and 29th Street.
In the next month or so, Related will begin work on a 32-story rental building, with 400 apartments, opposite the proposed Coach building.
The Gotham Organization just broke ground on a $520 million residential complex on a block bounded by 44th and 45th Streets, between 10th and 11th Avenues. It will contain 1,232 apartments, including 682 units for poor and moderate-income families, mandated by the Hudson Yards rezoning.
Commercial development has progressed more slowly because of the area’s lack of public transportation, its untested location and the costly decks that must be built over the railroad tracks.
Even so, Related, Brookfield Properties, Sherwood Equities and other developers at Hudson Yards said they were optimistic that the first set of commercial buildings was only a few years off, especially with the subway extension set to open in 2013.
Mitchell L. Moss, director of New York University’s Rudin Center for Transportation Policy and Management, said the development underscored how the city was better off with the Olympic plan but without the event itself.
“We’ve created the opportunity for new housing, new commercial space and an entirely new recreational corridor,” Mr. Moss, author of the new report “How New York City Won the Olympics,” said in an interview. “In light of how quickly the Far West Side developed, we’ve done better without the Olympics than anyone would have anticipated.”

日曜日, 11月 20, 2011

Fashion Video Festival Budapest 2011

November 22-26.
Design Terminal Budapest

2nd edition  of  Fashion Video  Festival Budapest
International  Fashion  Short Film Festival  in Budapest!

Fashion Video Festival Budapest is founded by Dora Abodi fashion designer and Sophie Baksa fashion editor in 2010. The second edition of Fashion Video Festival Budapest - one of the most prestigious regional fashion event - will be held during 22-26. November in Budapest. The festival is the most important showcasing event of fashion creatives of the region, inviting guests and works from all over Europe, US and Japan. The 6 days event covers a wide range of programs including fashion film contest screenings, international fashion film screenings, workshops, conference day, Japan charity day and fashion cinema to present new media and fashion. The event attracts wide range of professionals and media interest.

The Festival is a unique initiative starting a professional conversation between local and international professionals over the world. This year fashion film makers, like  Jason Last or Andreas Waldschüetz  will visit the festival and participate in the jury. Stefan Siegel the founder of Not just a label and Harry Weiler the talent scout of Not just a label will participate the festival, together with local fashion professional and press.

Introducing new talents of fashion film making and fashion design - the Festival's important goal is to discover new faces for fashion world. The first prize of the festival is the opportunity to direct the 2012  image film  of GLAMOUR Magazine in cooperation with Power Fashion Film Productions .

Besides fashion short film screenings are closed with fashion cinema, showing rare fashion films or documentary films for the public. International screening introduces Todd Cole, Rodarte, Antonine Asseraf , Jason Last, Kathryn Ferguson, Jimmy Edgar, Andrew Kuykendall, Agent Provocateur etc. to the public.

On the 24th of November there will be a Japanese charity day to support victims of earthquakes. The aim is to show traditional and contemporary fashion culture of Japan including presenting Japanese fashion videos of Japanese brands, designers and filmmakers, like Hall OHARA, Undercover, Yasutoshi Ezumi, Etw.Vonneguet, La Foret, Comme des Garcons, Noriko Kikuchi , Roomslink, Fugahum, HISUI, YOSOOU, etc. There will be a Japanese fashion roundtable, sushi catering and make-up workshop during the Japan day. The Japanese fashion film block is curated by Naoko Ishikawa, fashion editor.

The Education Day is a one day conference during the festival, referring to the festival motto: PowerPowerPower! Round tables, lectures, fashion film presentation will be during the Education day.

The Festival gives place to contemporary fashion photo and cutting edge fashion installation exhibition,  showing the top Hungarian fashion photographers and avantgarde fashion designers. Exhibiting fashion designers: Dóra Abodi (dress made with Swarovski Elements), Dániel Benus, Dora Konsanszky, KEPP Showroom, Dóra Mojzes, Larissza Pasztircsák (Mrs. Herskin), Orsolya Poppre (FUCK), Nóra Sámán, Kata Szegedi, Dora Konsanszky, Nguyen Body Objects

Exhibitor photographers: Vivenne Balla, Vince Baráti, Bálint Barna, Tamás Dobos, László Emmer, István Lábady, Mátyás Misetics, Zoltán Tombor, Bálint Trunkó, Krisztián Zana , Norbert Zsólyomi, Márk Viszlay.

Festival teaser video: www.youtube.com/watch?v=iqE-hV_O7XA

土曜日, 11月 19, 2011

ファッションビデオフェスティバル ブダペスト 2011 (11/22~26)

このイベントの「ジャパンデー」プログラムのコンサルタントをしています。
長い準備期間を経て、開催が2日後に迫りました!

ファッションビデオフェスティバル ブダペストは、ハンガリーのファッションを海外へ向けて発信すると共に、海外のファッションやブランドをハンガリー国内へ紹介することを目的に発足されました。ファッションとアート、そしてミュージックの融合をテーマに、業界間の壁をなくしファッション産業の発展に繋がれば、という願いがこめられたイベントです。

第2回目となる今年は24日(木)が「ジャパンデー」となり、入場料の50%が日本赤十字社を通じて東日本大震災被災者へ寄付されます。その日は、ファッションにまつわる日本の伝統文化やコンテンポラリーファッションを紹介すべく、日本の19のファッション関連企業とブランドによるショートフィルムの上映、セミナー、ビューティーワークショップ、VIPパーティーを予定しております。


今年のスローガンは、パワー!パワー!パワー!です。まだ歴史の浅いイベントですが、ヨーロッパだけでなく、カナダやオーストラリアからの参加もあり、今回も充実したプログラムとなっています。


* 概 要
開催日:2011年11月22日(火)〜26日(日)*ジャパンデー:24日(木)
会 場: Designterminal 美術館 <designterminal.hu>
主 催: ファッションビデオフェスティバル ブダペスト


* ジャパンデー:参加ブランド
Undercover
COMME des GARÇONS
Laforet HARAJUKU
roomsLINK
TELLSIT
IN-PROCESS BY HALL OHARA
Etw.Vonneguet
Noriko Kikuchi
Yasutoshi Ezumi
motonari ono
FUGAHUM
HISUI
everlasting sprout
lessthan*
aptform
.efiLevol
ODRADEK
Enharmonic TAVERN
YOSOOU 
(順不同)

公式ウェブサイト: www.fashionvideofestival.com


木曜日, 11月 04, 2010

matthew williamsonトークライブ@FIT



先月の終わりに、FITにて英国人デザイナーのマシュー・ウィリアムソンの講演を聞いてきました。

1994年にセント・マーティンズ校を卒業。その後「モンスーン」や「マルニ」で経験を積んでいる時に、彼のデザインしたビーズのバッグがケイト・モス等の目に留まり、早くも彼の名が知られるようになる。1996年に「エレクトリック・エンジェル (Electric Angels)」というテーマでロンドン・コレクションデビュー。2005年から2009年春夏コレクションまでエミリオプッチのクリエイティブディレクターを務め、“色の魔術師”とも呼ばれた。その後も自身のブランドにも力を入れる一方で、昨年はH&Mとコラボレーションして話題となった。今年「ブルガリ」のバッグラインのデザイナーに抜擢され、イタリアで9月に行われた2011年春夏ファッションウィークで発表している。

 彼のプリントは本当に美しいのだけれど、かつてエミリオプッチのコレクションに、敢えてソリッドカラーのドレスをデザインしたことでも話題を呼んだ記憶があります。“え〜無地のエミリオプッチ???”という風に。

さて、その夜はどのようなスタイルで登場するかワクワクしていたのですが、普通にブラックのパンツ+ジャケット。本人も“ごめんね、カラフルじゃなくて・・・”と/笑。デビューコレクションに協力してくれたケイト・モスの話も何度か出て来て、今日も信頼関係が厚い様子を伺わせた。パーティーはあまり好きではないそうで、カール・ラガーフェルドといった大物セレブが隣りだったりすると普通に驚いてしまうそう。カリスマ性というよりも、あれ程有名になっても謙虚で、普通の感覚を大切にしているセンシティブである印象を受けました。

ちなみに、「ブルガリ」がファッションデザイナーとバッグをデザインするのは今回が初めてだそう。 http://www.fashion-style.becomegorgeous.com/handbags/matthew_williamson_for_bulgari_spring_2011_handbags-3064.html

月曜日, 10月 04, 2010

NYタイムズ記事:bicycle chic gains speed: Runway to roadway

イギリス発のバイシクルブランド「RAPHA」が、この夏ニューヨークにポップアップ・ストア「Cycle Club」http://www.rapha.cc/cycle-club/ をオープンしていましたが、9月末をもって閉店となりました。そのセンスの高さから、ファッションとバイクの融合を感じさせてくれた素敵なお店でした。ビギナーな私にとってモチベーションを上げてくれるショップでもあったので終わってしまったのは残念。そんな事を考えていた矢先、目に留まったのがこちらの記事「Runway to Roadway」。

この取材では、オフィスからそのまま出て来たような装いのミニスカートや、10センチはあるヒールでも自転車に乗っている少数派のスタイリッシュなバイカーを取り上げています。彼女たちにとっては、ヒールでコツコツ歩くよりもバイクで走った方が足も痛くないし、靴の底も減らないで助かるとか。一理ありますよね。

その一方、個人的に気になっているのが、スポーツとしてバイクに乗っている人たちの着こなし。ハドソン川沿いや公園のトラックを走る男女が、まるでツール・ド・フランスの選手のようにウェアを着こなしています。日本では、女性が全身をこのウェアで固めている方が珍しいかもしれません。

“メッセンジャー・ヘルメット”はこの取材ではもう“ダサイ”という事になりますが、私の「GIRO」だって色々研究して買った一品なのです!つまり、スポーティに乗りたい時は「GIRO」にして、もうひとつ普段着用に帽子型のヘルメットを揃えるのが今どきのオシャレさんということになるのでしょうか。この記事に掲載されている帽子(Yakkay, http://www.yakkay.com/)がまた可愛くて♡買ってしまいそうです。

ちなみにNYはヘルメットの着用は義務付けられていませんが、隣りのNJでは義務付けられていますので、遠出する時には着用して行くのがベターだと思います。

The Photo from New York TIMES

 Bicycle Chic Gains Speed
TALK about making an entrance. Intent on arriving at a recent gala in style, Topaz Page-Green swooshed onto the scene on her trusty vintage roadster. She wore, of all things, a scarlet dress with a slinky 1920s feel. “It was to the ankles,” she recalled. “I had to hoist it up.”
Heads turned. But she takes such stray looks, and the occasional whistle, in her stride. “I’ve definitely noticed glances,” she said, “but I pay no attention.”
Ms. Page-Green, who runs a nonprofit group that provides meals to needy children, likes to charge around town on her bike. Sometimes she’s done up in sparkly necklaces and towering heels; other times she coasts to appointments, sans helmet, in a blazer and fresh-pressed jeans. “I get sweaty a little, but it doesn’t bother me,” she said. Her bike, after all, is a stylish appendage, “a kind of rustic enhancement,” she said.
She is one in an increasingly visible band of chic New Yorkers whooshing along the green-painted bike lanes that have proliferated in Manhattan, from the Brooklyn Bridge to the Hudson and from TriBeCa to Harlem, clutching BlackBerrys and clad not in spandex but in fluttery skirts, capes and kitten heels.
Roadways are the new runways for these style-obsessed cyclists, their bikes no mere conveyance but a racy adjunct to their look. More than a few are infusing what used to be an athletic, or purely practical, pursuit with eye-catching glamour and sex appeal. Their style, a modish amalgam of fashion and function, is documented on blogs and emulated by like-minded sisters on wheels. Their enthusiasm is fueling an uptick in business among independent merchants.
Women, mostly young, have given the image of cyclists “an extreme makeover,” said George Bliss, who owns Hudson Urban Bikes on Charles Street in the West Village. His store caters to upscale New Yorkers whose aim it is to speed around town on a traditional Schwinn or three-speed Raleigh while sacrificing neither their decorum nor élan. They are a far cry “from the image of the adult cyclist as infantry solider with a helmet,” Mr. Bliss said, referring mostly to the athletes and messengers who whiz by in that all-too-familiar forward-thrust posture that has, he said, “alienated every pedestrian.”
“The idea now is to look like a pedestrian on wheels,” he added firmly.
Mr. Bliss said that his clients tend to be women who almost invariably dress to impress. “They are my best customers,” he said. “They want more things — fenders and baskets and chains and bells and things to carry their kids and their dogs.” And most are turning their backs on the once-customary aerodynamic helmets and latex shorts in favor of a look as fetching as it is genteel.
In a city that elevates the pursuit of chic to stratospheric heights, voguish cyclists on vintage bikes are “part of a movement,” said Julie Hirschfeld, the owner of Adeline Adeline, a boutique in TriBeCa that sells bicycles, jaunty vintage-style wicker baskets and canvas bags. Their look, captured on Web sites like The Sartorialist and Bicycle Catwalk, as well as Cycle Chic from Copenhagen, is part of “that whole sort of blog style,” Ms. Hirschfeld said, one that is studied and much copied on Manhattan’s streets.
A desire to look workday glamorous impelled Michelle Tillou, an art dealer, to ride to her gallery on Beekman Place the other day wearing a blazer, elasticized trousers and patent-leather wedge-heel shoes. More often she slips on kitten heels. “The better to hook onto the pedals,” she said.
For the designer Lela Rose, wedge-heeled platforms and a khaki shirtdress of her own design are ideal for racing on her custom tricycle from the Union Square Greenmarket, where she picked up a bundle of mint, to her Seventh Avenue atelier.
Ms. Rose and her cycling cohorts began appearing in Manhattan in significant numbers a couple of years ago, influenced perhaps by a handful of early adopters, including local celebrities like Chloë Sevigny and Naomi Watts, who aimed to burn calories, not fossil fuels. Their example inspired Ms. Page-Green. “When I ride my bike, I’m not wasting rubber,” she said. “I’m not spewing exhaust fumes. And I actually keep myself fit.”
Not everyone is thrilled. Ross Autry, a blogger in Birmingham, Ala., noted in an e-mail that multitasking bicyclists are too self-consciously hip for his taste and, what’s worse, may pose a hazard. “Fixing your makeup or sending a text message could have catastrophic results,” he said. To say nothing of going without a helmet.
Ms. Page-Green, who likes to speed around on the sidewalk, has encountered hostility. “When you’re going too fast, people get mad at you,” she said. “I’ve had canes waved at me in the distance.”
Such complaints, though, go largely unnoted in an increasingly bike-friendly city. Last year, the city completed 200 miles of bike lanes in all five boroughs, contributing to an increase in the number of daily city cyclists to an estimated 201,000, up 79 percent from 2008, according to Transportation Alternatives, a bicycle advocacy organization.
A report by the Department of Planning indicates that the number of adult female cyclists in the city is growing faster than that of men. The male-to-female ratio has dropped yearly since 2003. Some of these women seem to view their bikes, equipped with high-end saddle bags and bells, as a stand-in for a car — in their way, as efficient and status-laden. “My bike is like a Suburban, but that’s the Texan in me talking,” said Ms. Rose, who moved to New York from Dallas and can be spied any day of the week pedaling uptown from her home in TriBeCa, her children and Stitch, her terrier, in tow in a seating compartment that is attached to the tricycle.
“A bike in New York City is sort of what a convertible is in Los Angeles,” said Bonnie Morrison, a fashion publicist who gave up her fancy mountain bikes years ago, preferring to scoot around the city on a boy’s Raleigh Chopper from the ’70s. Its low-riding banana seat, ultrawide handlebars and nonfunctioning speedometer are part of its charm, Ms. Morrison said.
So, too, is its off-kilter cool. Ms. Morrison once planned an outfit to complement her little chopper: a chambray shirt flat sandals and a patterned ’50s-inspired Prada skirt. “I saw myself as this very chic, carefree Parisian on a moped with an Hermès bag and the wind in my hair,” she said.
The reality, however, was sobering. It turned out that her skirt was too snug for propriety. “Besides,” she said, “at times, when I see my reflection in a shop window, I think, Oh my God, I look like a 35-year-old on a child’s bike.” It’s an image that, she said, “I just have to put out of my mind.”
On a blustery morning last week in Williamsburg, Brooklyn, Lee Dares, a model newly arrived from Toronto, wore a girlishly bibbed sweater, a navy blazer, Ann Demeulemeester roughrider boots and vintage Gucci sunglasses, her look accessorized with a borrowed Schwinn Le Tour. Ms. Dares has her heart set on a Raleigh single-speed, once she settles in. “I know, that’s so hipster,” she said sheepishly, “but everyone in Brooklyn rides one.”

月曜日, 9月 06, 2010

The NY Times 記事「Asian-Americans Climb Fashion Industry Ladder」

間もなく始まる2011春夏ニューヨーク・ファッション・ウィーク。今年はブライアントパークからリンカンセンターへと会場を移しての初の開催となります。もうひとつ初の試みが、“Fashion GPS”を導入したチェックインシステムです。デザイナー側があらかじめQRコードをEメールで招待客に送信しておき、当日バーコードを発券して入場するそうです。QRコードを貰っていない場合は、チェックイン・カウンターへ言ってRSVPで登録した名前を告げて同様にバーコードを貰います。このバーコードを手にしない限り会場には入れない訳です。来場する側としては少々心配で、いつもより確認に時間を割いてしまいそう。そんなショーの開催を5日後に控えたこの土曜日、NYタイムズのトップセクションの下の方に面白い記事が載っていました。

 かつてカルバン・クライン、ダナ・キャラン、マーク・ジェイコブス、マイケル・コースといったユダヤ人デザイナーが牽引していた米国ファッション界ですが、最近ではまだ27歳という若さのジェイソン・ウーを始め、アレキサンダー・ワン、リチャード・カイ、デレク・ラムといった若いアジア人デザイナーの活躍が目立っています。今年6月に発表されたCFDAの受賞者も全てアジア人。そんな彼らにインタビューをしながら、トップに躍り出ていくアジア人デザイナーの潜在能力のありかを検証しています。


September 4, 2010

Asian-Americans Climb Fashion Industry Ladder



The mood was set early at the American fashion awards ceremony at Lincoln Center in June, an event often likened to the Oscars of the fashion world, with a guest list that included celebrities like Sarah Jessica Parker and Gwyneth Paltrow and almost every top designer.
In quick succession, three men were called to the stage to accept their awards as the best new designers of the year: Richard Chai for men’s wear, Jason Wu for women’s wear and Alexander Wang for accessories.
It was the first time that all three prizes given by the Council of Fashion Designers of America were awarded to designers who are Asian-American. That same night, the fashion council announced three scholarships, each for $25,000, won by student designers of Asian heritage.
“It’s so exciting,” said Mr. Wu, who became a household name not only in this country, but also in his native Taiwan, when his dress was selected by Michelle Obama for her husband’s inauguration. “Not too long ago, Donna Karan and Michael Kors were the young designers of America. Now there are a lot of firsts for all of us as Asian-American designers.”
Their ascent to the top tier of New York fashion represents an important demographic shift on Seventh Avenue. At the Fashion Week that begins here on Thursday, many of the most promising new designers are of Asian descent, a group that includes Mr. Wang and Mr. Wu; Thakoon Panichgul, one of the stars of the documentary “The September Issue,” about Vogue magazine; Prabal Gurung; Phillip Lim; and Derek Lam — names that are increasingly likely to represent the future of fashion.
Major design schools around the world have seen an influx of Asian-American and Asian-born students since the 1990s, partly through their own recruitment efforts in countries with rapidly developing fashion industries, like South Korea and Japan, and partly because of changing attitudes in those countries about fashion careers. At Parsons the New School for Design, roughly 70 percent of its international students enrolled in the school of fashion now come from Asia, according to school officials. At the Fashion Institute of Technology, 23 percent of the nearly 1,200 students now enrolled are either Asian or Asian-American.
“F.I.T. is a pretty diverse place, but this is the most obvious change we have seen,” said Joanne Arbuckle, the dean of its school of art and design. “It is remarkable when you compare it to many years ago. I don’t think we ever had these numbers of students from Asian countries or Asian-American students. And it is a growing population.”
The rise of Asian designers in America has actually come in several smaller waves, including one that marked the emergence of Anna Sui and Vera Wang in the 1980s. In the last few years, however, as a new generation of designers has asserted itself in New York, Asian-Americans have been at the forefront. In 1995, there were only about 10 Asian-American members of the Council of Fashion Designers of America. Today there are at least 35.
This has happened largely for the same reason that the New York fashion industry, through the ’80s, was populated most visibly by designers of Jewish heritage, like Calvin Klein, Ms. Karan, Ralph Lauren, Marc Jacobs and Mr. Kors. Throughout the 20th century, generations of Jewish immigrants had created a thriving garment district in New York, first as laborers, then as factory owners, manufacturers, retailers and, eventually, as designers. Many of today’s Asian-American designers say they experienced a similar evolution from the factory to the catwalk, since some of their parents and grandparents were once involved in the production of clothes.
Mr. Lam, whose luxury ready-to-wear collections evoke a classically uptown ideal, is a designer of Chinese descent who came to New York by way of San Francisco. His grandparents owned a factory there producing bridal gowns. His father imported clothing from Hong Kong, but Mr. Lam said he wanted to pursue a more creative course and enrolled in Parsons, graduating in 1990. Before starting his label in 2002, he worked for Mr. Kors in New York.
“I grew up around clothes,” Mr. Lam said. “It was like a default. Fashion became one of the few outlets for Asian-Americans who wanted to put their name out there.”
When he went out on his own, Mr. Lam, though well received, faced a difficult road. No one bought his first collection, and he and his business partner had invested their savings in the business.
But after several seasons, the collection took off. He has since won several awards, including the accessories prize from the fashion council in 2007; opened two stores Manhattan; and developed a clothing and accessories line for the luxury brand Tod’s. During a recent trip to Shanghai and Beijing, he said, he was stunned by the level of awareness of his work there.
“There is this understanding that there is a group of Asian-American designers who are coming up in the world, and there is a sense of pride,” Mr. Lam said.
The cultural changes that have enabled would-be designers to pursue their chosen careers have happened slowly. Ms. Sui told The International Herald Tribune in 2008 that designers of her generation were often asked by their families, “Why do you want to be a dressmaker when you could be a doctor?”
Mr. Wu said those pressures were still there as recently as a decade ago. “When I was applying to Parsons, my mother had never heard of it,” he said. “Now, everyone in the generation after me wants to go to Parsons. Fashion has become a more prominent career in the eyes of Asian parents.”
Unlike the avant-garde work of Yohji Yamamoto, Rei Kawakubo and Issey Miyake — Japanese designers who took Paris by storm in the 1980s — there is no discernible aesthetic connection among the designs of Asian-Americans. Alexander Wang’s street style looks nothing like Mr. Lam’s polished dresses, nor the colorful mash-up prints of Peter Som, who also consults on sportswear for Tommy Hilfiger. None would care to identify their styles as “Asian-American.” Carmen Chen Wu, a Parsons student who received one of the fashion scholarships this year, noted that she is of Chinese descent, but was born in Spain, “so technically, I’m a Spaniard.”
But one thing their heightened visibility has done for them as a group is to create opportunities in Asia, where the realm of luxury fashion had long been exclusive to traditional European houses like Louis Vuitton and Chanel.
Since his triumph with Mrs. Obama, Mr. Wu has been invited to return to Taiwan in October to help design a residential building, and he is developing a line of eye shadows with Shiseido that will be sold throughout China. Mr. Som said his business was growing faster in Asia than anywhere else, noting that the speed of information today has made consumers in South Korea, Taiwan and Thailand as knowledgeable about new designers as they are about the historically major brands. Mr. Lam said he had been invited to return to China next month to appear as a judge on “Creative Sky,” a popular new reality television competition.
On that show, aspiring fashion designers compete in a series of runway challenges, much like those on “Project Runway” in the United States. The major difference is that the ultimate prize is not the chance to show a collection at Fashion Week, but something that is now becoming far more prestigious in Asia.
The winner gets the opportunity to go to Parsons — as a student.

The NY TImes 記事: Nordstrom Links Online Inventory to Real World



週間前オンライン・ショッピング・サイト「WWW.ZAPPOS.COM」でレースアップ・ブーツを購入してみた。上げると切りがない程オンラインショップのサイトはあるが、SHOPZILLA.COMAMAZON.COMNET-A-PORTERから、デパートや小売り店が管理するオンラインショップまで、どれもユー ザーフレンドリーなサイトのデザインにビックリする。例えば何点か続けて「アンクルブーツBooties」をクリックすると、選ばなくてもサイトの中 から似たアイテムも探しててきて提案してくれる。“ブーツ”というカテゴリーでもデザインは様々だし、何百といアイテムを全てチェックしなくても良いので便利だ。どんどん提案してくれるので決められなくなってしま、とい欠点はあるが、欲しいものと更に近いものを見せてくれるのであれば、購入する時には自分も満足してるに違いない。

先日オンラインを利用したおもしろい搬入システムの記事を読んだ。「消費者がオンラインで在庫から目当ての商品を見つけ、買わずに最寄りの店舗にその商品を取り寄せ、良かったら買」といシステムだ。ォールマートから始まったといわれる搬入システムのひとつ。より消費者の立場に立っていて有りそでなかったアイデアだが、巧みなロジスティックの開発なくしてはあり得ない。大手デパートの「ノードストローム」もこのシステムを利用したところ売り上げが伸びているとい

これまでカリフォルニア、シカゴ、ダラス、ニューヨークと住んでみて、気候も違えば人々の生活スタイル、レジャー、食文化、ファッションの好みの違いを目の当たりにした。
――そうなのだ。少し脱線するが、好むと好まざるとは関わらず“郷に行っては郷に従う”で、ダラスでは“いつもゴルフが出来る装い”と言わんばかりに毎日ポロシャツを着ていたし、みんな南部の太陽に良く生える明るい色の装いが多かった。独特のメガチャーチが台頭し「Dress Barn」風なファッションをして教会へ行く人を多く見かけた。引っ越して来て驚いたのは、東京以上にニューヨーカーが黒っぽい装いをしている事だ。80年—90年代にコムデ・ギャルソンやYOJIが注目され、感化されていつも黒い服を来ていた事を思い出す。まさに“ブラック”がスタンダードという時代だった気がして懐かしくなったのだが。――

当然全米で展開するデパートは、各店にローカライズされた賢い品揃えが必要だが、今回の記事にあるよに“消費者がワ ン アイテムから直接商品の搬入を希望出来るシステム”があれば、確実に売れる商品が店舗に増えるのだ。例えそのアイテムが売れなかったとしても、その地域の 消費者がどんなアイテムやカラーを好んでいるのかが分かり、同じ志向の消費者がいる確率は別の地域よりも高いといえる。結果、番目に見た消費者がそれを購入して行くことも考えられる。そんな傾向を素早くロジスティックがキャッチして、見込みのある品を店舗へ送る、なんて事も出来そうだ。小売り店もオンラインショップのように完全に消費者主導になって、MD要らずのストア・オペレーションなんて時代が来るかもしれない。でもその結果、値下げ品が減ったりしたら、バーゲンセール好きな一消費者としては大変困るのだが。


August 23, 2010

Nordstrom Links Online Inventory to Real World


SEATTLE — Retailers have been flailing about a bit in their efforts to get people to shop again, deploying all sorts of gimmicks and promotions to spur customer spending.
Wal-Mart hoped that deeper cuts in its standard rollbacks would be a draw, but then said the prices went too low. At Saks, perhaps customers would go for designer labels if the lines offered less-expensive items. And for Macy’s, how about inexpensive clothes by Madonna?
The secret, at least for Nordstrom, has not involved a piercing insight into a customer’s mind. Rather, it has changed the way that it handles, of all things, inventory. And that has brought the department store more success in improving sales than at most of its competitors, whose recent reports signaled that their consumers were still cautious.
The change works this way: Say that a shopper was looking at a blue Marc Jacobs handbag at Nordstrom.com. She could see where it was available at nearby stores, and reserve it for pickup the same day.
More significant, if the Web warehouse was out of that bag, it did not matter. Inventory from Nordstrom’s 115 regular stores is also included. Maybe there was just one handbag left in the entire company, sitting forlornly in the back of the Roosevelt Field store — it would be displayed online and store employees would ship it to the Web customer.
What Nordstrom did on its Web site — displaying stock from both the Web warehouse and its stores all at once, was unusual. And that, said Jamie Nordstrom, president of Nordstrom Direct, drove “some pretty meaningful results.”
In fact, Nordstrom, based in Seattle, has been the department store with one of the best improvements in same-store sales over the last year, when its overall sales reached $8.26 billion. While it may not seem revolutionary, a melding of Web site and store is surprisingly rare in the retailing world.
“You’re talking about traditional retailers that have traditional ways of doing things, and sometimes those barriers are hard to break down,” said Adrianne Shapira, an analyst at Goldman Sachs.
Wal-Mart has added a feature where online shoppers can ship items to nearby stores, and Target.com shows which stores carry which items, but customers cannot buy them in advance.
Among Nordstrom’s competitors, such fluidity is hard to find, Ms. Shapira said. “I don’t see anyone going to the length they are,” she said of Nordstrom. In the 11 months since Nordstrom made the inventory change, its same-store sales — sales at stores open more than a year, a crucial measure in retail — have outperformed the department store average measured by Thomson Reuters.
In those 11 months, Nordstrom’s same-store sales increased by an average of 8 percent. In the 11 months before the shift, they decreased an average of 11.9 percent. (The improvement is not all because of the inventory change — the economy improved, and Nordstrom made other operating changes.)
Nordstrom began overhauling its online approach two years ago, adding the option to shop and buy online and pick up the item in a store. “It was the first thing that we did, because the No. 1 call we got at our call center was, ‘Hey, I’m looking at this item online, can I look at it at my store?’ ” Mr. Nordstrom said.
The company was also trying to increase the number of people who shopped at Nordstrom in more than one way, since those so-called multichannel shoppers spend four times, on average, what a one-source shopper does, Mr. Nordstrom said.
Inventory was a big issue, too. If Nordstrom.com did not have the item someone wanted, it was not as if the customer would wait for the company to restock it, Mr. Nordstrom said. “If we don’t have it, you’re going to go back to Google and say, ‘Who else has it?’ ” he said. “We have 115 full-line stores out there — chances are one of them has it.”
In September 2009, the company wove in individual stores’ inventory to the Web site, so that essentially all of the stores were also acting as warehouses for online.
Results were immediate. The percentage of customers who bought merchandise after searching for an item on the site doubled on the first day, and has stayed there (although, Mr. Nordstrom cautioned, that doubling was from a small base).
“Customers that were looking for an item, we had their size,” he said. That meant the company hired a few more shipping employees to wrap and send items from each store. But, he said, increased sales more than offset the cost.
It also means that inventory is moving faster, and often at higher prices. “If we’re out of something on the Web site, it’s probably late in the season and the stores are trying to clear it out,” he said. “By pulling merchandise from the store, you’ve now dramatically lessened the likelihood that you’ll take a markdown.”
Nordstrom’s inventory turnover, which measures how quickly a company goes through inventory in a given year, went to 5.41 in 2009 from 4.84 in 2005, a five-year high.
“The health of our business when we’re turning faster versus turning slower, it’s night and day,” Mr. Nordstrom said.
Keith Jelinek, director in the global retail practice at the consulting firm AlixPartners, said that Nordstrom’s changes could give it a competitive advantage, but showing accurate inventory information to customers was difficult.
“The customer ordering via the Web site is not concerned with where the product is, only that it is in stock,” Mr. Jelinek said in an e-mail message, but that could easily go wrong if a sales clerk entered an incorrect item number, which would “incorrectly display what the customer could see online. While, for the retailer, their financial inventory is still accurate.”
On Saturday, Nordstrom introduced an updated Web site, trying to make it more interesting for customers and easier to navigate.
The new site adds editorial features, like blogs about fashion and videos and photos of Nordstrom customers showing the clothes they chose for work and for weddings. Mr. Nordstrom said the company drew from sites like Net-a-Porter, which combine magazinelike stories with shopping. The site will also allow customers to post messages or photos. While customers are no doubt swamped with social-networking options already, Mr. Nordstrom pointed to the more than 120,000 product reviews added to Nordstrom.com since that feature was introduced last fall.
The company has also improved how shoppers can search for products, allowing searches with multiple criteria — check boxes allow someone to search for, say, a purple cocktail dress under $150 for a curvy figure.
Web-design experts asked to review the site were split on its success. Martin Zagorsek, a partner at Launch Collective, a fashion-business consulting firm, said that the editorial features did not promote the products mentioned within them, which was “a no-brainer.”
But Andy Rhodes, director for commerce at the marketing firm SapientNitro, said that Nordstrom had long been ahead of the game on the digital-to-physical connection, “and it’s nice to see they’ve brought that capability to the forefront with the new Nordstrom.com.”
All the changes, Mr. Nordstrom said, were about satisfying customers, but that translated into profits.
“We can sell more without having to buy more inventory,” he said. “That plays through to margins and, ultimately, earnings.”

日曜日, 5月 23, 2010

Limelight Marketplace

今日は久しぶりにマルコと遊んできました。

14丁目のアップルストアに用事があったらしく、近くまで来たから“出てこない?“と。8アベニューと21丁目に居るというので歩いて向かうと、そこに一緒に居たのは弟のアレックス。少し前からNYに一緒に住み始めたとのこと。懐かし〜♪そして軽く14年振りくらいに3人で街をブラブラすることに。

昔マルコの家で初めて会った時アレックスはまだ高校生だったのに、もう30歳になるそうで、道理で自分もこんなに年を取っている訳だ、と素直に納得。

昔ながらの友は良いもので、話が尽きない。私はマルコのママが大好きだったんだけど、近々シカゴから遊びにくるらしいので是非混ぜてもらう事に。こうしてアミトラノ兄弟と改めて話していてビックリしたのですが、なんと彼らは5人兄弟だったんです。お姉さんのマリアと3人だと信じていたので“他には?”という会話になったことも無かった・・・苦笑。まあ、少し複雑な事情もあるようで、ちなみに長男はハワイにいらっしゃるとか。

話しているうちにユニオンスクエアまで歩いて来て、アレックスの買い物を済ませたので、ここからだとLの電車で一本という彼らがこの冬に引っ越ししたというアパートを見に行く事にしました。

川を渡りブルックリンへ、と言っても電車に揺られる事わずか10分程。駅からも至極の彼らのアパートは、錆びた重い鉄のドアが目印。最初からして格好いい!(しかしお隣りのビルの黄緑色の壁が頂けない/苦笑。=彼らも承知していました)部屋は3LDK。広々していて、壁もレンガや木がむき出しになっていてかなりクール。もうひとりのルームメイトのニックはマルコの職場仲間で、ダラスに住んでいた事もあるナイスガイでした。

さて、今日3人で一緒にブラブラしたスポットのひとつがこちらの「ライムライト・マーケットプレイス」です。外見は教会ですが、一歩中へ入ると、ショッピングセンターになっています。一時クラブにもなっていた事もあります。空間を色々な高さから体験出来るので、建築/内装に興味のある人は面白いはず。


Church Turned Club Is Now a Market


Librado Romero/The New York Times
Limelight Marketplace emerged after a $15 million renovation, making its interior much brighter than during its club years.
mment
What is perhaps Manhattan’s best-known former house of worship will be reborn this spring as the Limelight Marketplace, with 35 upscale boutiques and restaurants within its lancet-windowed walls on Avenue of the Americas in Chelsea.
Librado Romero/The New York Times
The exterior of the Limelight, a building dating from 1844.
The marketplace, in the landmark 19th-century church that once housed the Limelight nightclub, will combine elements of holiday gift bazaars and department stores. Vendors will set up side by side in the 12,000-square-foot complex, some in tiny berths of 100 square feet, and shoppers can pay for their purchases at central checkout counters. It is the first foray into permanent retail spaces for a number of tenants, but available one-year leases will minimize the risk somewhat.
A $15 million gut renovation has made the interior much brighter than in the building’s often-contentious quarter-century as a nightclub, but the space retains the mazelike feel that was a hallmark of the Limelight.
That is partly the point, said the project’s developer, Jack Menashe. “We wanted that feeling of discovery, like you’re finding something new and exciting around every corner,” said Mr. Menashe, who said he had gone to the Limelight in the late 1980s about 10 times. “But we really don’t want to be that associated with the past.”
More than a century ago, the Church of the Holy Communion, whose cornerstone was laid in 1844 at West 20th Street and Sixth Avenue (long before its official name change), hardly seemed notorious. Among the parishioners at the Episcopal church, whose distinctive notched towers were designed by Richard Upjohn, also the architect of Trinity Church near Wall Street, were John Jacob Astor and Cornelius Vanderbilt.
But a century later, a dwindling congregation led the church to consolidate and in 1976, after the last Mass was said, a commune called the Lindisfarne Association took over before decamping for Colorado a few years later.
The Episcopal Church then sold the property to the Odyssey Institute, a drug-counseling organization, for $495,000, before the club mogul Peter Gatien bought it for $1.65 million in 1983. Andy Warhol hosted the Limelight’s opening-night party, and soon crowds were lining up outside to get in.
As popular as it was with clubgoers, however, the Limelight was nearly as popular with the police, who occasionally padlocked its doors after complaints about drug use and dealing. The Limelight closed in 2001, and other clubs operated in the space until 2007.
In 1996, the Ashkenazy Acquisition Corporation, which owns shopping centers, took a stake in the property after Mr. Gatien fell behind on his mortgage, later gaining full control after buying the building in bankruptcy court in 2001 for $3.2 million. Mr. Menashe, who has a background in retail, is leasing the space from Ashkenazy, for undisclosed terms.
While the marketplace may intentionally recall the church’s heyday as a club, Mr. Menashe has made efforts to alter its look. On a recent tour of the space, as drills whined, he noted that in many places a limestone wall had been scraped of 15 layers of paint to reveal its natural surface.
Also gone is a D.J. booth that hovered over a Sixth Avenue entrance. But the building, particularly the nave, is unmistakably a church, which sits well with Jon Wye, whose six-year-old leather business will occupy a 250-square-foot space near a recently uncovered round stained-glass window.
Mr. Wye, who is based in Washington, hopes the original detail will help draw attention to his growing business, which rented a stall in December at the Bryant Park holiday market.
Though he would not disclose the cost of his one-year lease, brokers say that $150 a square foot is probably the average for Flatiron district stores without direct street frontage. Whatever the expense, though, the brief lease will allow Mr. Wye to penetrate the Manhattan market while keeping overhead low.
There are 60 spaces in all, and the building is about 90 percent leased, the developers said. Some tenants have taken more than one spot, like Brocade Home, a SoHo store, which will use nine berths on the second floor and one on the ground floor. More established brands include Le Sportsac, Baci Gelato and the bootmaker Hunter, in its first stand-alone New York store.
While there are precedents for what the Limelight Marketplace is doing, brokers say, it is an unusual retail model. Each berth is wired so vendors can set up their own cash register systems to handle sales independently. If investing in costly equipment is too daunting or if vendors lack room in their shops, they can have sales rung up at any of four central registers.
Still, said Robert K. Futterman, a retail broker in New York, historical buildings can be a tough fit for shops because of restrictions on exterior signage, something he said was hurting the shopping mall beneath the Plaza Hotel. Indeed, though Mr. Menashe had sought 13 signs for the Limelight Marketplace, the city’s Landmarks Preservation Committee allowed only eight.
“But if it doesn’t feel like a flea market there, I think it will work,” said Mr. Futterman, who is not connected with the project.
There is concern in the neighborhood, however, that some of the nightclub’s less desirable features could return. The Brooklyn pizzeria Grimaldi’s plans to serve food around the clock with indoor and outdoor seating, and if it receives a beer and wine license, it could attract a rowdy late-night crowd, said Susan Finley, a director of the Flatiron Alliance, an advocacy group, who has lived on West 20th Street for three decades.
Frank Ciolli, owner of Grimaldi’s, said visitors to nearby clubs “may come out hungry” and drop by, but said he would also attract Broadway theatergoers.
Though the renovations are new, some tenants are already familiar with the space. Renee Chow, the owner of Thérapie New York, is taking a 200-square-foot ground-floor space from which to sell items like imported toothpaste. Ms. Chow, who used to dance at the Limelight in her youth, said, “If somebody said then that I was someday going to have a store here, I would probably say, ‘Stop right now.’ ”