NEW YORK — Estée Lauder unveiled a new generation of merchandising counters at Bloomingdale’s on Thursday, as the first step in a global rollout of 300 installations over three years for the Lauder brand. The cost of the overall...
NEW YORK — Estée Lauder unveiled a new generation of merchandising counters at Bloomingdale’s on Thursday, as the first step in a global rollout of 300 installations over three years for the Lauder brand. The cost of the overall project has been estimated by industry sources at $50 million.
Patrick Bousquet-Chavanne, group president of the Lauder brand as well as MAC Cosmetics and the company’s Fashion Fragrances, co-hosted a ribbon-cutting, along with Bloomingdale’s chairman and chief executive officer Michael Gould, at Bloomingdale’s 59th Street flagship.
Bousquet-Chavanne described the new 1,100-square-foot counter space as serving two purposes. Along with this year’s new advertising campaign and the new product packaging now hitting stores, the new counter look is meant to play a key role in the venerable franchise’s renewal by "signaling the modernity of the brand" to consumers. It also gives beauty advisers a new tool to help stimulate sales.
The counter design was inspired by the glamorous old salons of Estée Lauder herself. The counter is actually an archipelago of four floating units, two of them cosmetics bars, each sporting three makeover stations. The floor was carpeted to make the open, airy design even more inviting. That touch was a Lauder first.
Gould seemed delighted to overhear a reporter remark that the new counter looked larger than its predecessor. "Since perception is reality, it’s reality," he beamed at the beginning of his speech, noting later that the counter is actually a little smaller, but it will be more productive. "It is a thousand times better than what we had before," he said, later adding that "it’s clean and it’s easy for the customer to shop." The design is also "airy, light and open," he said, declaring that "this is totally updated Lauder."
While Bousquet-Chavanne pointed out that this was the first store in the world to receive the new look, he pointed out that the customer reaction is all that matters. On that front, he reported overhearing a customer expressing surprise that there was a Lauder counter in that location, even though all it did was replace an older version. "It’s all about recruiting new customers," he said.Gould strongly alluded to increased business, but he gave no numbers. The Bloomingdale’s counter started operating three weeks ago and there has been a 25 percent positive shift in business, according to sources, who estimate that Lauder is shooting for a 15 percent gain as the counters roll out around the world.
“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