Little Marc Jacobs hasn’t grown up, but it’s grown out — 110 square feet, to be precise.
“It gave us a bathroom and a dressing room. It wasn’t very practical before,” Marc Jacobs International president Robert Duffy says, sitting on a banquette in the new space, his one-year-old daughter, Victoria, tugging at his pant leg. “It took me having a kid to realize all the functional aspects that were needed.”
While the additional tract is the most conspicuous change to the once-tiny West Village nook, Little Marc Jacobs has a whole new retail concept. Executed by architecture firm Jaklitsch/Gardner, the space is clean yet imaginative with white lacquered millwork, floating shelves housing a trove of teddy bears and geometric accents in poppy hues. At the store’s center dangles a stunning, custom handblown citron-and-white glass chandelier, created in collaboration with Axon Lighting.
Duffy, who developed the look with Jaklitsch/Gardner, says the store’s new palette serves a functional purpose. “It took me a long time to come up with a concept just because there are all these studies on how children respond to certain colors, and I wanted to make sure we took that all into account,” he says of the three-month renovation process (during which Little MJ shacked up with Marc by Marc across the street). “I couldn’t figure out why so many kids’ stores were all white, and I found out kids love it.”
Case in point: little Victoria, who refused to put on anything but the white frock she’s sporting on this day. “She’s like, ‘No, I’m wearing this one.’ Unfortunately, she picked a prototype, so it’s all ripped up inside,” Duffy says, flipping up its skirt to show the unfinished underpinnings. “She knows what she wants.”
When it comes to her playthings, the tot is opinionated as well: Anything with wheels is highly favored. “She doesn’t like dolls. She likes this kind of stuff,” Duffy says, watching Victoria push a wooden-wheeled duck across the floor. “She like trucks.”
Along with apparel and toys of the rolling sort, Little Marc Jacobs carries merch ranging from rocking horses to picture books to DVDs. “There’s the grandparents or godparents who will spend any amount of money. They usually go for the stuffed animal. There’s the family friend, that’s usually clothes. And then there’s the parents, and they go purely practical,” Duffy says, motioning to the shelf housing the diaper bags. “You literally have three different kinds of customers.”
He admits there’s a wish-fulfillment aspect to the redesign. “When I was a kid, there was no such thing as a children’s store. Your parents buy you your stuff. You didn’t actually go with them, but that’s all changed,” Duffy says. He’s now holding Victoria, who’s fiddling with a robot action figure Duffy tells me was a gift from Jacobs. “I would have loved a place like this, so I just get really into it.”
“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