NEW YORK — Dior Homme reopened the doors of its 57th Street store here Saturday following a five-month renovation. The remodeled flagship has a new second floor that will be dedicated to VIP services and tailored clothing.
Concurrently, Dior Homme has decided to keep open a 2,300-square-foot location in SoHo that was originally planned as a temporary unit while the uptown store was closed for the redesign. The SoHo lease, at 133 Greene Street, has been extended through at least 2021.
The 17 East 57th Street store, now enlarged to 2,067 square feet, is situated in the LVMH tower and adjacent to a women’s Dior store. While the two units previously sported distinct facades, they now share a uniform look from the street. The new facade is fashioned from an opaque double layer of glass, etched with the signature Dior “cannage” pattern, backlit with LED lights. The Dior Homme boutique was previously fronted by black glass.
“The facade is now seamless between the two stores. The men’s store really stands out more, as the black glass used to recede,” explained Pamela Baxter, president and chief executive officer of Christian Dior Inc. and president and ceo of LVMH Perfumes and Cosmetics North America, both divisions of Paris-based LVMH Moët Hennessy Louis Vuitton. “The men’s store will be illuminated at night now, as well.”
The upstairs VIP space offers a sitting area and a spacious fitting room, in contrast to the smaller fitting rooms on the ground floor. There is a passageway between the men’s and women’s stores on the second floor, draped off with a stainless steel curtain.
There is an offering of suiting and formalwear on the second floor. The majority of merchandise remains on the ground floor, which has been remodeled with pale gray concrete tile — a switch from black tile — and new fixtures with LED lighting. Dior Homme creative director Kris Van Assche has chosen a selection of exclusive leather goods for the New York store, including a shearling-lined hooded blouson jacket, a zippered messenger bag and small duffel.
The interior color scheme is mostly in the favored Dior Homme hues of gray, white and black, with mirror and steel accents throughout. However, pops of dark blue enliven the interior, as in a display of 42 Plexiglas cubes that serves as a display for accessories, as do the two ground floor dressing rooms in deep red.
In addition to the two freestanding stores in New York, there are Dior Homme stores in the U.S. in San Francisco and Beverly Hills. Additionally, there are men’s shops within larger women’s stores in the Ala Moana Center in Hawaii and at the Wynn Las Vegas, CityCenter and The Forum Shops at Caesar’s Palace, all in Las Vegas.
The 57th Street store is the highest-grossing Dior Homme store. Baxter said sales at the renovated store should increase by 25 to 50 percent over the old store, per industry norms.
“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