Millard "Mickey" Drexler is pumped up and for good reason. He's touring the Madewell flagship in New York's SoHo, seeing it for the first time stocked with merchandise and dissecting the presentation.
"This is the vision played out," Drexler said on Friday at the 3,500-square-foot space, which opens today at 486 Broadway on the corner of Broome Street. The store is in an 1883 Romanesque Revival brick building that decades ago housed the Mechanics and Traders' Bank of Manhattan.
For Drexler, the chairman and chief executive of J. Crew Group, the Madewell flagship oozes the kind of character that only comes with the passage of years and elevates the brand image in a way that no garden-variety retail box can.
"I don't like to use the term flagship, but we were lucky to find a flagship store in an extraordinary building. You can't replicate this in a shopping center," he said.
Mostly, he loves that many of the original elements are intact — the creaky pine wood floor, the cast iron radiators, and the exposed brick walls formerly hidden by Sheetrock. In the basement, the bank vault is still there; elsewhere, the gas pipes that fed the gasoliers (chandeliers that work on gas) are visible.
"Every store is a canvas. We took advantage of this one. This could be a beautiful gallery or a great shoe store. I would live in this space. It's kind of the same feeling you get when you fall in love with an old house," said Drexler.
Turned on by the store's progress, he calls the J. Crew PA system at headquarters with his cell to announce to his workers: "Madewell has literally and figuratively arrived on Broadway." He wants his whole team in on the action, even if they can't physically be on the scene, and wants them to sense what he senses — that the store captures the spirit of the Madewell brand, which was inspired by a 70-year-old former New Bedford, Mass., workwear label bearing the name. "Really, the store feels the same way. It's not fancy, not exclusive, not overarchitectural, or designed."
Yet the walk-through isn't without concerns.
"Can we not bury the handbags?" Drexler asks, noticing they're confined to a couple of shelves and blocked by a fashion form.
Then he examines the 20-foot-long denim bar. It's too high, but he likes the scope of it. On the staircase landing, there's a wall of mirrors that has to go.
His biggest concern is upstairs, past the DJ booth, in an open room just beyond the "gallery" of graphic Ts and wall of crumpled scarves. "It's like you're walking into the main salon of a home and want to be blown away. But where's the exclamation point?" The merchandising is just too regimented — a short and a top, a short and a top, etc. He even pulls out a pair of shorts with a lattice pattern and asks, "Does anybody like this?"
By Tuesday, there's been quite a bit of change. There are more accessories on the first floor, spread out across eye-level shelving. The denim bar has been cut a foot lower and painted white, and the staircase wall is merchandised and sans mirrors. Upstairs in the far room, there is greater variety in the mix — trenches, cardigans, flip-flops as well as shorts, even the pair Drexler didn't like, though now it's displayed less prominently.
"The cool thing about getting a store ready to be opened is that you try different things out and can change them around, if you don't like it at first," noted Margot Brunelle, senior vice president of marketing and public relations for J. Crew, Madewell and Crewcuts.
Other concerns have dissipated. When the site was first brought to the attention of Drexler and the Madewell team last year, the potential wasn't obvious. "We needed to see through the layers and layers of paints, the wear and tear and the dreariness," Drexler said. "To us, the attraction was in its simplicity and timelessness."
The store also was thought to be too far south in SoHo, away from the main pedestrian traffic, though the view has changed with Britain's Topshop due to open next door later this year. The block, Drexler believes, will become a destination.
“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