Thursday, August 31, 2017

Selling Kink on Madison Avenue



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CreditKirsten Luce for The New York Times
I ONCE worked on a play with a dominatrix, who explained a troublesome producer with the smiling dismissal: “Oh, don’t worry about him. He’s such a John.”
Meaning: obvious, easily manipulated. Sex, in her mind, was smeared all over men’s faces and running down their bibs, rendering them too ridiculous for any reaction other than amused, affectionate pity.
We’ve hit an interesting impasse in the battle of the sexes. In one corner, we have unprecedented access to unprecedented amounts of pornography, which has been transforming sex into a kind of performance art (in some cases, literally). On the other side, we have actual women — who, while gamely eager to please, generally speaking, find themselves a bit overwhelmed or upstaged (or both) by this onslaught of visual fiction and the new standards dictated by an almost mainstream ubiquity of smut.
It has been astonishing to watch, in the slowing of the economy, how the classy sex-shop business model has thrived. Society becomes creative when its entertainments are confined to the home.
Agent Provocateur has “arrived,” as it were, on Madison Avenue, ready to underclothe the hooker fantasies of a whole new class of shopper. This comes as a bit of a surprise. Agent Provocateur in SoHo has been a rowdy counterpoint to the nearby dead-serious upscale kink of Kiki de Montparnasse. For silk negligees and 18-karat tongue vibrators, you’d go to Kiki; Agent Provocateur was the source for tongue-in-cheeky stuff: gingham cowgirl bikinis, rubberized nurse costumes.
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On Madison, it seems, the shop is all dressed up to role-play as Kiki de Montparnasse. The interior is black and classy. There are sumptuous dressing rooms with billowing silk curtains and cherry blossoms crawling up the walls. A sitting room is furnished with vampire-luxe Victorian club chairs. Murals sweep up the staircase: Aubrey Beardsley meets Edward Gorey in an evil garden full of nude Vargas pinups.
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CreditKirsten Luce for The New York Times
The saleswomen still sport the old uniform: a tightly tailored pink shirtdress, black tights and pumps: equal parts sexy nurse, roller-skating waitress and lab assistant. It’s a look conveying the message: we’re licensed underwear technicians, here to aid your scientific research.
The Madison inventory seems geared to undress women in a particular “Mad Men” fantasy, classic stuff that appeals to the stag-film-and-martini-marinated male. To wit: marabou peep-toe slippers; lace merry widows in ivory and red. No black leather, no latex. In short, it’s the stuff you buy the chorus girl with whom you are cheating on your proud Madison Avenue wife.
Who, then (besides sex workers, for whom such dainties are, arguably, a professional expense), buys this tricked-out, candy-apple shellacked hot rod of outlandishly expensive yet adolescently cartoonish love for sale, on Madison Avenue? The women I saw seemed to want nothing more than to throw beige cashmere cardigans over these rococo brassieres. The store uncomfortably exposes people for their exact level of sexual maturity — or not.
While I was trying to solve the labyrinthine conundrum of tiny straps on a red lace “playsuit” ($370), a dapper couple in their 50s walked in, all matching glen plaid and horn rims. “Look, $280 — for just the bra!” the woman squealed, too gamely.
Her companion overcompensated by trying to act devil-may-care. The Russian beauty working the floor explained that the loftier Soirée collection was on the second floor (e.g., French lace nightie, $1,990).
“Oh, so you work your way up to the luxury line?” he asked, too loudly, using the bra as a prop. “I guess that’s when you rip this one apart!”
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CreditKirsten Luce for The New York Times
It was an uncomfortable moment — his cool was already blown, and so quickly. The saleswoman gave him a polite golf-chuckle.
The main problem of the Madison Avenue Agent Provocateur: it’s on Madison Avenue, a shopping area for ladies-who-lunch of a certain age. I’m guessing that porn gear isn’t at the top of their shopping lists. It’s probably not even in the middle of their lists — and those are very long lists. In fact, chafing dishes, dog jewelry and even decorative pine cones would probably appear on most of their lists before pink leather spanking paddles.
“I didn’t look good enough in these to pay that for them,” a 40-ish woman exiting a dressing room said, with a joyless giggle. “But I’ll be back!”
I didn’t believe she’d be back. I doubt the saleslady believed it. She sounded as if she had seen her own shadow in that dressing room.
BEAUTY is relative, certainly, and in the eye of the beholder. And men, bless them, can be amazingly dumb. A set of sequined pasties with tassels doing a double whirlybird is apt to get their attention on a slow afternoon, to say nothing of gilded handcuffs or seamed stockings that spell “Whip Me” in cursive on the calf ($70).
Bottom line, girls: it ain’t fashion. Fashion is about glamour, which is about seduction, which is about intrigue, which is about suggestion. In this joint, all of fashion’s ingeniously composed double and triple entendres are burned down to one big fat entendre.
I’d wrap it up for you, Johnny Dearest, but the only girl I know who wears anything that skimpy is my gun, and she only wears leather. Here’s where I beat it.

a New Lingerie Label



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Serena Rees, who made racy lingerie a wardrobe staple, in her London studio. She is introducing Les Girls Les Boys, a line for millennials.CreditTom Jamieson for The New York Times
LONDON — Serena Rees, a founder of Agent Provocateur, who earned herself a fortune in the 1990s by making kinky lingerie a wardrobe staple, sat on a velvet sofa last month in her Marylebone townhouse. She was musing about the power of reinvention.
“After selling Agent Provocateur a decade ago, I was approached by both rivals and potential partners asking me to go back into the intimates business with them,” she said. “But nothing felt quite right.”
“I felt like I’d done it all,” she said, tucking her legs, clad in silky black athletic pants and open-toe stilettos, beneath her.
But several years spent watching the way her children and stepchildren dress and share clothes changed her point of view.
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“The kids that live in this house, or their friends that come through it, have such a different view to previous generations on how to dress, how to behave, how to hang out with friends and lovers and in their attitudes toward sex and sexuality,” she said. “I looked at what the market was currently offering them, and it felt like there was a big disconnect. Victoria’s Secret and Agent Provocateur are just not relevant to them anymore.”
The result is a new label called Les Girls Les Boys, which is set to be introduced Sept. 1. The 100-piece collection will be a gender-fluid array of intimates, underwear and street wear, designed to be worn by men and women. It promises to take its millennial wearers from “bed to street,” in keeping with their boundary-blurred lifestyles and a more informal approach to clothes than the generations before them.
In recent years a decisive pivot away from the sex-doll look in favor of a unisex aesthetic has been on full display across the ready-to-wear runways. It’s a positive movement, Ms. Rees said, one that is also a clear sign of and reaction to the times.
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The 100-piece collection includes intimates, underwear and street wear that are designed to be worn by men and women. CreditBrett Lloyd
“The last decade has seen the rise of totally unobtainable and hypersexualized body images, particularly for women, fueled by the era of internet, social media and plastic surgery,” said Ms. Rees, the former daughter-in-law of Vivienne Westwood. (Ms. Rees founded Agent Provocateur in 1994 with her ex-husband, Joe CorrĂ©.) “It is wrong and it is worrying because it makes people so unhappy and insecure. In a weird way, I feel a little responsible for it.”
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A bodysuit from Les Girls Les Boys.
When she introduced Agent Provocateur 23 years ago, Ms. Rees hoped to empower women to take control of their sexuality and the way they displayed it in public and private. A tongue-in-cheek blend of stylishness and smut, it featured satin cutaway corsets, embroidered bra straps and barely there slips brazenly on display. All of these, Ms. Rees reasoned, could actually be tools of liberation.
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A knit bra from the collection.
“Except that people got carried away over the years,” she said with a disapproving shake of her cloud of raven curls. “Now it has all gone too far. Les Girls Les Boys has been engineered to be the antithesis of all that.”
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Briefs from the collection.
The project began 18 months ago when Ms. Rees saw that the millennials around her were already engaged in a wardrobe revolt.
“Many of them already seem to understand that they don’t have to live up to those images,” she said. “Our garments are tools to help them feel totally comfortable in embracing whoever are, their life choices, approach to relationships and the fact that the most gorgeous thing in the world can be youth.”
“Particularly when people are relaxed both mentally and physically,” she said with a grin. “These kids are creatures of comfort, but they still want to look good. And that excited me again. I really wanted to be a part of it.”
The label’s first season of briefs, bodysuits, sweatpants and pajamas, which cost $25 to $143, will go on sale via the label’s e-commerce platformand at stores like Nordstrom and Selfridges. (A $1.3 million robbery of Les Girls Les Boys stock from the truck of a sleeping driver in Britain this week may affect availability of some items, but the label has no plans to scale back its unveiling.)
Ms. Rees appeared sanguine about the future.
“Listen, I’ve got nothing to win or lose doing this,” she said. “I have a great life. But it has been a real labor of love and genuine reaction to the social and political climate we are currently living in. So many brands get stuck in their ways: They don’t look anymore at what is going on in the outside world. We really are doing that. And hopefully, people will listen.”
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Newest Hot Spot? Check Instagram


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Kristin Vincent, the owner of Sel Rrose, in front of the restaurant’s pink doors, a popular location for photos posted on Instagram. CreditAmy Lombard for The New York Times
When Ashley Buchanan, a graduate student from Tampa, Fla., visited New York City a few weeks ago, she skipped the Statue of Liberty, the Empire State Building and the top of Rockefeller Center and headed to a tourist attraction she had bookmarked after seeing someone posing beside it on Instagram: the pink door of a restaurant on Delancey Street.
“You know what the big cities are, so it’s: What else can you see in a city? What’s new? What’s exciting? What’s beautiful?” said Ms. Buchanan, who swiftly uploaded a picture on Instagram of her posing before the doors of the restaurant, Sel Rrose, on the Lower East Side. “I don’t know why more restaurants aren’t doing this,” she said. “You could become super successful by just painting a wall pink.”
The photo-sharing site Instagram is a birthplace of its own culture, with influencers (humans, dogs and even monkeys) who promote brands or are professionally fabulous. But within the app’s endless photo stream, amid the silent competition for the best cappuccino foam or the perfect backdrop, a new style of travel has emerged: people who build their itineraries around the images, and seek out not, say, places like the Metropolitan Museum of Art for what it is, but also for the cool wall where they can pose in front of and post on social media.
The global phenomenon can sometimes be problematic — a tranquil swimming hole in Denning, N.Y., became overwhelmed after serene photos of it spread on the internet. But in a city as overexposed as New York, where 12,000 filming permits are issued per year, according to City Hall, the practice of visiting popular Instagram-able places has a special bent; repeat visitors like Ms. Buchanan, and even locals, say, it allows them to find something new and hidden — at least until the “likes” from followers start pouring in.
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The candy shop at Metrograph, a cinema and restaurant on Ludlow Street in Manhattan, has become a highly “grammable” location. CreditAmy Lombard for The New York Times
At Metrograph, a quirky cinema and restaurant on Ludlow Street in Lower Manhattan, a few people each day duck through the glass doors and head to the concession stand, strike a pose, take a photo and swiftly leave.
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“You try to give them the friendly hello you’ve given to everyone else, like, ‘Hi! Welcome to Metrograph!’,” said David Knuckles, 25, the box office manager. “But they’re not even looking at you; they go straight to the candy store.”
Backlit, with a jewelbox-like display of exotic sweets, Metrograph’s candy shop has become a highly “grammable” set-piece. A scroll through Instagram shows many who have succumbed, crouching, silhouetted, caught mid-artful-reach for a tub of popcorn.
Creating a shrine for Instagram pilgrims was unintentional, said Alexander Olch, 40, the cinema’s founder who designed the concession display. But he doesn’t mind, he said — even when they leave without movie tickets or even so much as Swedish Fish.
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The pale pink velvet banquettes at At While We Were Young, a restaurant in the West Village, are a particular hue so beloved on social media that the color has a name: millennial pink. CreditAmy Lombard for The New York Times
“The Metrograph experience is about sharing the magic of cinema beyond the rectangle of the movie frame,” he said. “If there is something that feels special enough to be photographed with, if there is some feeling in sharing of that magic, that’s a win for us.”
Hopefully, he added, “someone also takes a program.”
In the West Village, with its pale pink velvet banquettes (a particular hue so beloved on social media that it recently garnered the name “millennial pink” and more than one think-piece) the restaurant While We Were Young was recently named one of the most Instagrammable restaurants in New York City by BuzzFeed.
“It’s a blessing and a curse,” said Bradford Dunigan, the owner. “People come here just for a photo and sometimes people are scared away who want to eat dinner and not deal with flash photography and people rearranging plates.”
Visitors from around the world tell Mr. Dunigan they were drawn by others’ artful pictures; some dart in just for a photo and leave. Others try to stand on the banquets for the right camera angle. “Obviously New York has a lot of iconic things that are very Instagram-friendly. But I don’t know I would travel that way,” Mr. Dunigan said. “Are you just going somewhere just to get a photo?”
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While We Were Young was recently named one of the most Instagrammable restaurants in New York City by BuzzFeed. CreditAmy Lombard for The New York Times
Kate Lumpkin, 25, a casting director who lives in Sugar Hill in Manhattan, said she has had to check herself when she explores the city via Instagram to make sure she’s taking everything in.
“I feel like a lot of people are location-scouting their lives,” she said. “And not taking the time to enjoy the location.”
On her Instagram, she was pictured mid-stroll in front of the pink doors of Sel Rrose on Delancey this week, a matching millennial pink handbag in hand. She said she did not stop to eat there.
And yet, in some ways the practice has deepened her experience of places, she said. A frequent visitor to the Met, she only recently discovered Louis Valtat’s 1903 work, “Woman with a Cat,” she said, after seeing it on Instagram and seeking it out.
At Sel Rrose, where some evenings the doorman has to clear away Instagrammers from the entrance to let actual customers through the pink portal, Kristin Vincent, the owner, said she designed the paint job with social media in mind. That’s because Ms. Vincent, who lives on the Lower East Side, curates her own experiences of the city by following Instagram accounts she admires, she said, as she sat on the pink velvet banquette at While We Were Young, where she had stopped in after seeing it on her Instagram feed.
“It’s a New Yorker’s way of seeing the city,” she said. “It’s not just the pink doors.”

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