Sometimes a song is enough to inspire a retail project. The expansion of the Milan cult store L’Arabesque — replete with a café-restaurant — was triggered by owner Chichi Meroni’s passion for the late singer and composer Lucio Battisti and, in particular, his words “sitting in that cafe, I wasn’t thinking about you.” Meroni quotes the verse from one of her favorite Battisti songs, “September 29,” which coincidentally marked the opening date of the first version of L’Arabesque back in 2010.However artistic Meroni appears to be, she is also an entrepreneur who knows what her customers are looking for: thorough product research. “Discovering that each object — from a Twenties bijoux to an ostrich feather boa — was researched. Each object has a story and the retailer tells it,” said Meroni during a walk-through of the store, which is located in Milan’s Largo Augusto, a few steps from the luxury design and furniture stores that line Via Durini and the central shopping thoroughfare in Piazza San Babila. And, to be sure, L’Arabesque combines apparel and design — as an extension of those two locations.The 5,381-square-foot store is nestled under the arches of a 1961 stately building designed by architects Luigi Figini and Gino Pollini and is run by Meroni, whose passion for fashion is contagious. Her goal is to offer an immersive experience at L’Arabesque. Her store, she believes, responds to the changes in consumer behavior. “The Nineties were more dedicated to consumerism, now it’s a bit less [like that]. I believe this is an emotional shift,” she said, noting that her customers seem to have rediscovered quality over quantity.The store takes up an entire block and is divided into four sections, each offering a different product category: women’s wear; men’s wear; design objects and furniture such as lamps and sofas, and the restaurant. “I want to keep a fil rouge that never discontinues, to keep a focus on every choice that I make, on every piece included in this space,” observed Meroni of the narrative connecting the products.The women’s area includes a selection of the label designed by Meroni. Under the same moniker, the L’Arabesque brand offers two collections a year, mixing little black dresses, shirts in classic colors such as navy, white and black, as well as a modern reinterpretation of vintage gear. This is in fact one of Meroni’s strongest passions, deriving from her fondness for memory. “This gave an imprinting to my whole life. It’s part of what I saw during my youth and adolescence, that has remained, things that I loved back then and still love now,” she said.In fact, in addition to the L’Arabesque brand products, the store also offers some vintage items including jewelry from the Twenties to the Seventies and the minaudières from the Thirties. The bags tell a story, she said, because “ladies couldn’t even put their keys in [them] since those were kept by their husbands or their doors would be opened by a doorman — something that doesn’t happen today,” she giggled.The store also displays selected new products such as the Opéra National de Paris ballet flats and Robert Clergerie shoes, to name a few.Exploring the store with its owner gives the space a more precise resonance. The men’s shop, L’Arabesque Pour Homme, is injected with Far East inspirations; Asian tapestry covers the walls featuring Japanese ideograms. Inside, a selection of men’s wear staples including Tricker’s and Rivolta shoes, vintage Hermès ties from the Sixties and enameled cufflinks are juxtaposed to the in-house men’s collection, completed with a hint of other brands’ apparel including Drumohr cashmere crewnecks.Produced by in-house tailors, both the L’Arabesque women’s and men’s ready-to-wear collections are available exclusively in the store and Meroni is not considering selling online for the time being. “Personally, it’s hard for me to buy a pair of shoes online, for example. Maybe we’ll get to that point — it’s the nature of time to change things and evolve. After all, my own adjusting to things is not that important, I have to follow the customers’ adjustments,” she remarked. On the contrary, offering a bespoke or “Prêt-à-couture” service is core, something that is “extinct or at least not so approachable,” added Meroni, who offers a made-to-measure experience, as well.The store’s Design Gallery is part showroom, part selling space that offers vintage furniture pieces from the Fifties and Sixties. A couple of peacock-blue velvet chairs by Robin Day stand out against the grayish, carpeted floor. They match a wooden tea table.Among the latest installments is the Librairie, or bookstore, which reflects another of the owner’s passion, as she is also an avid book reader and collector. Accordingly, she included a corner where magazines and books are displayed as if they were in a private home library. It also includes a selection of rare, out-of-print titles.The same space also houses L’Arabesque Café and Restaurant. “It was conceived thinking about a customer who comes here quite often and likes to find a cuisine he knows and loves, with high-quality ingredients,” declared Meroni who published the book “C’era una volta a tavola” [“Once upon a time at the dining table”] in 1999. L’Arabesque Café and Restaurant’s menu delivers typical Italian dishes reinvented such as a hazelnut, mushrooms and coffee risotto or rack of lamb in a herb crust with foie gras. While not disclosing sales figures, the owner stressed the importance of the restaurant as a significant booster in revenues."Our customers are usually very loyal, we rarely lose them,” said Meroni, pointing to the effectiveness of the experience at the store. “They like to stay at the restaurant, to come to the bookshop, where our expert bookseller pays them special attention,“ pointed out Meroni.While Italian customers account for around 60 percent of the total, during the city’s events such as Salone del Mobile or Fashion Week, foreign customers grow in number, “because they find [L’Arabesque] an unexpected place for Milan,” explained Meroni.Last September, L’Arabesque opened a second shop in the artsy Brera district. The 645-square-foot space located in Largo Treves 1, mimics the parent store. The shop matches Asian-inspired lacquered pieces and bamboo panels with industrial steel displays. It offers only women’s wear and some furniture items. “The idea is that a person can get in and discover that world and maybe get closer [to the parent store]. Basically it’s to explore another neighborhood of Milan and offer L’Arabesque there, too,” explained Meroni.
“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