For Laurice Rahme, the founder of Bond No. 9, a new development project for New York City means a new fragrance for her brand.
“When I see there’s a whole new neighborhood in New York that’s going to be built, I want it,” said Rahme, whose upcoming spring scent is based on the Hudson Yards development, to be constructed by 2018 atop Long Island Railroad, New Jersey Transit and Amtrak tracks between 30th and 34th Streets. “And if it’s a neighborhood with green [space] and a park and the water, I really want it.”
Inspired by the upcoming $1.5 billion project, Rahme’s 59th scent, which launches April 1, is meant as a study in modernity and nature, both elements incorporated in the Hudson Yards design. Spanning 28 acres, the more than 17 million-square-foot space on the West Side will house more than 100 shops, about 5,000 residential units, a school, a movie theater, restaurants, a 150-room hotel, 12 “super towers” and a public square. The square, designed by green-minded landscape architect Thomas Woltz, will be filled with artfully placed gardens, flowers, fountains and open-air space for art exhibitions and events.
“When you do a neighborhood that doesn’t exist yet, it’s so exciting,” said Rahme, adding that companies like Coach Inc. and L’Oréal USA have signed on to move to a Hudson Yards building. “This is the new fashion center in New York. It is the future of the city.”
The resulting “watery” scent, created by Givaudan’s Aurélien Guichard, is meant to be at once futuristic and natural. Housed in a “near-neon” chartreuse laser-etched bottle, top notes include lily of the valley, freesia and pink peppercorns, while the heart is a blend of peony buds, Bulgarian rose and lychee, set atop a base of orange flower, iris absolute and white musk. A large fabric bloom, also a removable fashion accessory, adorns the bottle. “It’s a fashion piece,” said Rahme. “It’s oversize, pretty daring, it’s supermodern, like the project itself.”
With her finger on the pulse of New York City Department of Parks & Recreation’s comings and goings, Rahme is a virtual trademarking machine, a trait that has allowed her to launch Bond No. 9 scents such as Bryant Park, Union Square, Wall Street and Chinatown, which pay homage to the city behind her brand.
“People ask me: What am I going to do next? Am I running out of projects? I won’t because New York City is always onto the next project, the next renovation to make the city attractive,” said Rahme.
Although the company would not share financials, industry sources estimate the $285 scent, which will be sold through about 2,000 global department store doors, 100 of which will be in the U.S., could generate $5 million in its first year at retail.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast