Showing posts with label nyc. Show all posts
Showing posts with label nyc. Show all posts

Monday, October 30, 2017

Happy Anniversary to ALCONE ... 65 and going strong



Many New Yorkers, especially of a certain age, will lament the fact that New York City has become homogenized or in other words the city has been cleaned up to such a large extent that it has lost some of its allure and a lot of its grit. One of things that has happened in the process is that the smaller retailer, often referred to as mom and pop stores, have all but evaporated from sight. The gentrification has left a trail of victims but there are some steadfast persevering retailers who have made the transition from the old New York to the new glossy version which includes online shopping.
click image to enlarge



The upside to the survivors is that instead of being just local they have now become international and no longer dependent solely on foot traffic. Thank you INTERNET… which has unarguably changed the complexion of retailing on every level and in every conceivable category. Today it’s all about a brand that was once confined only to the cognoscenti of the theater world … thespians and hair and make up professionals. The brand is ALCONE and I tip my hat to a brand that has still retained a retail outlet in the heart of the theater district as well as expanded exponentially on the worldwide stage.
click image to enlarge



So if you are looking for anything from lashes to eyeballs, from masks to mascara, from blood to brushes,  and just about everything and anything you might imagine to fill your makeup needs then you have indeed found the premier resource.  Just perusing their offerings will entertain and educate as to just how vast their world is and how equally encyclopedic the selection. 
click image to enlarge

click image to enlarge



Think of Diana Vreeland who said  ... “give them what they never knew they wanted” and I will add “what they never knew existed” when it comes to this universe of makeup needs. So now in the words of the founders’ descendants here is ALCONE who is about to celebrate their 65th anniversary this coming month….
click image to enlarge



Jeffrey Felner: Can you give us a brief history of your brand up to this point?



Maria Stewart: Alcone Company was founded in 1952 by Alvin and Harriet Cohen. Alvin’s parents owned a pharmacy on West 20th street which also served as the first location for Alcone Company. At the time, they specialized in stage makeup and theatrical supplies, which we still provide to numerous Broadway and Off-Broadway productions. However the professional industry we serve now has grown to include all avenues of production - television, film fashion, art. So since its origin, Alcone Company has grown to become both distributors of professional beauty brands and special effects makeup as well as our eponymous products. Even though we still predominantly cater to the professional industry, the everyday consumer and makeup fanatic multiplies daily, which is why we created Limelight by Alcone. Limelight is a direct sales company which allows an individual to sell our most popular products and receive a commission for their sales.
click image to enlarge





Jeffrey Felner: What is your assessment of the beauty business of today as opposed to when you began this journey?



Maria Stewart: Today it is a multibillion dollar industry that is seemingly unstoppable. When we (the Mallardi’s) began this journey into the world of Alcone and professional makeup, there were not nearly as many makeup brands on the market as there are now. Social media and the internet has changed all that for us and has remarkably us and the beauty business overall. “Everyday people” now know about professional makeup products and the demand has just skyrocketed. All it takes is one “influencer” to mention a product, often one that we’ve sold for many years, and then it flies off the shelves and we literally cannot restock that item fast enough. There is also no warning when this will happen, so it can shock the system a bit, especially for small, independent manufacturers.

What’s interesting about this is that professional makeup brands have traditionally not used any kind of fancy packaging and certainly no gimmicks. It was just great products in simple jars that makeup artists repotted to customize their own palettes for their kit. This kept costs down for everyone, the brands and the artists. So it’s amazing that in the beauty industry where there are so many product options, we find that die-hard makeup lovers/enthusiasts want authentic professional makeup. In fact, we often get product developers in our store, or at the industry trade shows that come looking for ideas … sic rip off. 
click image to enlarge

click image to enlarge




Jeffrey Felner: If you could rewrite any part of your history what would it be and why?



Maria Stewart: For the most part I think that everything worked out the way it was supposed to as far Alcone’s history. That said …  looking back it would have been great if we had invested in commercial property in the NYC years ago - rents have just skyrocketed in New York City and many of the cool, boutique type stores are gone and have been replaced by huge corporate chains. When looking back on our little store on 19th Street that we acquired in the 90’s, Chelsea was not yet on the rise and I just wished we had invested more in that area at the time. We were the only ones bringing outside foot traffic to that street and now it is one of the most expensive locations, residential or commercial, in all of Manhattan. Still, we are happy and proud to have been (and still be) a part of NYC’s community of small businesses with unique shops.
click image to enlarge

click image to enlarge




Jeffrey Felner: Can you share your most prized memory or collaboration during the brand’s lifetime and why is it so prized?



Maria Stewart: Blue Man Group will always have a special place in Alcone’s heart. This was a situation where three complete strangers walked into our office and pitched their performance art concept to my brother Vincent and my sister Mary. They said their concept involved blue makeup, bald caps, drums and catching things in their mouths. This really intrigued Vincent and Mary who then searched high and low for whatever products might fit their needs. Vincent actually just gave them the products for free (especially since they had shopping bags filled with cream cheese and bananas-Vincent assumed they were struggling but turns out that those were actually props used for the show.) To this day, Vincent oversees the integrity of their signature blue shade. The reason this collaboration is so prized for us is because at the time, no one had any idea of how huge the Blue Man Group would become. We just embraced the project because it was an opportunity to help these artists fulfill their vision, which is always our goal. Now they are so ingrained in American artistic culture, that originated right here in New York City, and we are truly proud and grateful that they chose Alcone to be a part of this amazing journey.
click image to enlarge






Jeffrey Felner: What is your opinion of online selling vs. brick and mortar...?  Upsides? Downsides? Why?



Maria Stewart: There are many upsides of selling online- first and foremost the ability to reach huge audiences in an instant, at their convenience, in the comfort of their homes, 24 hours a day. Part of our mission as a company is to make our products available to people outside the industry, who love high quality at a great value, and selling online has allowed us to do that.




The downside of course, is that you can only see the product on a digital image, which doesn’t allow one to know the texture or color payoff, which is critical to buying makeup products especially for professional artists, but also for today’s savvy consumers. So we find that most people who buy online are most often engaging in repurchase of items they have tried or used before.





Brick and mortar is still, in my opinion, the most important channel for selling makeup. For us specifically, it allows our customers to experience the products as well as get personalized recommendations from our pro artist staff, who are all working makeup artists in the industry. Our store location is really quite unique in that it’s always been a place for artists to gather, share ideas and discuss different approaches to the challenges of a particular project. They’re encouraged to play and give the products a test run before their makeup gig so they can go away confident that the products they purchase are going to achieve their clients’ desired results. So it’s a bit of an interactive environment so to speak.

The same with our “consumer” customers who are looking for products for themselves. For them, the opportunity to have one-on-one time with a professional makeup artist and get advice is much more personal than online shopping because they’re getting real solutions to their beauty questions. That’s where brick n mortar is the really the star when it comes to professional makeup.



The downside for us from a business perspective are the rising costs in rent if you want to operate out of a storefront in a popular neighborhood or even expand our retail presence. Being a distributor for professional products means that we sell high quality products to a wider audience but at affordable pricing. In a way, we are a “little engine that could” being a small family run business competing with a luxury market. But still, we hold true to our heart, and are happy to have a hub where our customers can still go to, shop and interact with others.
click image to enlarge
www.alconemakeup.com/buying-guides

Thursday, April 13, 2017

WATCH OUT !! the MANDRAWN interview

www.mandrawn.com/watch-interview-jeffrey-felner
 OR
read it here:
Ricky Wolbrom

This is an instance that combines a skill and a craft that dates back centuries and infuses precision workmanship into what some will call fashion or collectible accessories. Enter Ricky Wolbrom who had an epiphany and turned it into a thriving business. Though the name (watch-cufflinks) is seemingly self-explanatory, it is so much more than just cufflinks built from watch parts and mechanisms. By the way check out the website and see that they are much more than just cufflinks and not just for men.
click image to enlarge

click image to enlarge


Some of you will be familiar with the brands that are repurposed or reimagined in their current state and for those who are unfamiliar; these names are the ultimate in horology and timekeeping.  Watches from many of these brands range in the thousands of dollars and some might even surpass tens of thousands, so if you are an aspiring collector or even a seasoned collector of timepieces Watch-Cufflinks (don’t forget the hyphen) might just be what will appeal to you. Having always been fascinated by watches, this was a company that piqued my interest especially in the fact that many pieces are constructed and built in the same manner as the timepieces they echo and in some respects the same way as the original Miriam Haskell jewelry. The owner (Ricky Wolbrom) and creative director, Daniel Baker, speak to an audience of collectors and fashion fold folk who appreciate the art and craft of fashion, as well as those who might collect pieces that echo the very brands they own or aspire to; names such as Rolex, Omega. IWC, Breguet, Girard Perregaux, Bulova, Elgin and more. 

click image to enlarge

click image to enlarge

Jeffrey Felner: Can you give us some brief history as to how this business came about and some of your background?

Ricky Wolbrom: With my family originating from Belgium, Switzerland, Israel and Central Europe, I'd been exposed to the gold and diamond business from an early age, maybe it’s genetic! I originally began in the jewelry business back in the 80's as a goldsmith apprentice here in New York City, and then I went on to get my GIA Certification in Gemology. Prior to actually making jewelry, I found myself working at a prominent newspaper in New York where I rose to the VP of Advertising and Marketing and was successful at both expanding the newspaper and substantially increasing the paper's revenue. After this rather corporate endeavor, I wanted an outlet for my creative tendencies; I always had a passion for textiles and fiber arts, so I spent time learning different ways to create jewelry from various high end novelty yarns. Eventually I began to experiment with assembling metal jewelry. I found that vintage watch parts lend themselves extremely well to the look I was trying to achieve, a hybrid of something new created from something old. Being strongly attracted to the ideas of recycling and up-cycling, giving new life to watch movements that would normally be cast aside, thrown away and forgotten intrigued me. It is an honor to pay homage to the brilliant and skilled craftsmanship of vintage watch movements. The master artisans of yesteryear hand created these intricate and fascinating little worlds of synchronicity and artistic beauty. Re-purposing them and utilizing these mini landscapes of art to create a new life in captivating and relevant jewelry gives me tremendous pleasure. 
click image to enlarge

click image to enlarge





JF: Do you see any brand extensions in the future or expanding your retail network? What would be the ideal situation for both?

RW: There is a definite desire to expand both the line and distribution. For one, there is room to incorporate more precious metals as well as semi-precious and precious gemstones to create genuine luxury pieces. There already exists a high end clientele to support this, and I believe this adds another layer of legitimacy to our hand-crafted, one-of-a-kind pieces. I also envisage collaging vintage jewelry, either wholly or in part, to create unique signature statement pieces. We have already dabbled in this area with excellent results, and can imagine an entire line that makes use of genuine vintage jewelry from the deco era through the 60's. As for avenues of distribution, we have not considered designing for other brands, but instead we have looked to place ourselves in the types of shops and boutiques that cater to our niche market, such as jewelry stores, especially those that focus on luxury watches.  Elite and luxury tourist destinations throughout Europe, Asia and the Middle East seem to be a natural attraction for us
click image to enlarge

click image to enlarge



JF:  If you could select any collaboration at all, what it would be and why?

RW: Well, to be clear, I already have a collaborator/ partner who is a highly skilled designer and jeweler. We have a highly motivational dynamic that pushes the limits of our skills and I owe much to this partnership. As for another collaboration, to be honest, this could be you, Jeffrey. Knowing your history in the fashion and jewelry making industry, your expertise and skilled eye could be priceless, from your business acumen right down to design. Who knows, perhaps there would be room to grow into an expanded line of accessories, home decor, textiles, etc.  In the end, any collaboration would have to ultimately be about advancing the art. Success and profits are not to be derided, but the most satisfying thing about the work is creating something that genuinely brings pride. I could not have the former at the expense of the latter. 
click image to enlarge


JF:  Can you profile your clients and tell us “who” they are and what you perceive as the attraction to your product?

RW: Our clients are vast and diverse. We have shipped to almost every conceivable destination in the world. We sell to everyday people as well as a deep roster of exclusive buyers, executive VIP's, celebrities, musicians and even royalty. We have even been commissioned to produce bespoke pieces for clients as well as for movie houses, prop and wardrobe managers, photographers… even a record label and luxury liquor company. We also do well with corporate gifting companies and "in-flight" magazines...
I believe there are many reasons people are attracted to our product. First, there are the devoted horological aficionados whose kryptonite is anything and everything that has to do with timekeeping. Our audience also includes those who love our jewelry just because of its esthetics; being different from virtually any other style of jewelry they might know since many may have never seen the inner workings of a watch before. This, I believe, enables our jewelry to transcend a singular categorization. 
click image to enlarge

click image to enlarge


JF: Can you sort of run us through the process in terms of manufacture, etc., so that we have an idea of what goes into the making of your pieces?

RW: It seems that everyone has their own process. For me, I scan through supplies and as I internalize each piece, I can visualize combinations with other components. I then might gather together many different supplies from various ideas I have in my head and begin to lay them out together, trying two or three elements together and seeing if things "click". My partner is a highly visual person and can often picture a finished piece without picking up a single component. Regardless of the method, once the design is finalized, each piece is stripped of parts that may be excess or unnecessary, sharp edges are filed down and buffed, and metal surfaces to be joined are cleaned and abraded. Then all metal pieces are torch soldered - walking the fine line between reaching the temperature required for solder flow, while taking extreme caution not to burn the delicate surfaces and parts present on various watch movements. Depending on whether a grungy or gleaming finish is desired, the pieces will be lightly or thoroughly washed and then non-soldered elements may be added, such as crystals, gemstones, etc. Assuming that all the planets are in alignment, a finished product has been born and if we are lucky … a work of art has been created.

Thursday, April 30, 2015

meet Fern Mallis .. author, fashion veteran, luminary



This is an unexpected and amazing surprise to have Fern Mallis as the subject of one of my Q & A sessions. If you are not aware of whom she is then you are only pretending to be a dyed in the wool “fashionphile.” Ms. Mallis has just had her first book (Fashion Lives) released by Rizzoli within the last 30 days. The book, which is an unadulterated joy to read and selling like crazy, is comprised of a curated selection of sit down interviews conducted by the author. Her interviewees are some of the most notable fashion, in its broadest sense, personalities of our generation.  Think Mellen, Kamali, Jacobs, Oscar, Karan, Ford, Cunningham ... To name a few …These sit downs were conducted as part of a series produced at the 92nd St Y in NYC over the past few years.

Fern & me

One tidbit about the hugely attended book signing at SFA on April 20th and that is: the book and author were afforded nothing short of megastar treatment when 18 windows were devoted first to the book, then the designers and then of course the raison d’etre for both .. Fern Mallis. It is not exactly a common occurrence to have one of the world’s most celebrated department stores, known for selling CLOTHES to devote its entire Fifth Avenue frontage to a book!



I am humbled and gratified that Ms. Mallis made the effort to do this “interview” during this extraordinarily busy time given her promotion schedule for the book. It just really shows me that there are people who still retain their grace and integrity even after being in this business for so long which is not always easy. This little interlude between us also should demonstrate to all that Fern Mallis gives as good as she gets. Her replies are written with great candor backed up with extensive knowledge and experience. If you need to google her, then just check out Wikipedia... that says it all!


So it is my pleasure to so offer a chat with the author of the moment! Fern Mallis….

1-After the runaway success of your first book, Fashion Lives, what’s on your agenda for a follow up? ideas??
It’s a little too early to be planning more books, but I do have some in mind, including a Volume II of Fashion Lives, since there are already  4 interviews-5 interviews that didn’t get into this book.  My next interview at 92Y is on June 3rd with Victoria Beckham,

2-While we are on the subject, I’m going to steal one of the questions you asked Bill Cunningham and that was “what was the best show you ever attended and why?”
There have been several very memorable ones; I loved the final show Bill Blass did when he announced his retirement.  It was in the morning during Hurricane Floyd.  The winds and rains were unbelievable, but his “Ladies” kept arriving with umbrellas blowing away, the tents were leaking everywhere….the drops of water dripping in the venue and over the runway were more dramatic with the lights hitting them…and it was a scary day….Bill paced backstage with his cigarette and said to me he was perfectly happy to cancel the show, the clothes had been made, models came, but he was worried about guests being out in this weather.  I said we were not letting him retire without this final show.  It went up late, but the music was all Gershwin, Lerner and Lowe, all very American, with red white and blue lit backdrop…The show was gorgeous and when he came out for his bow at the end- there wasn’t a dry eye in the house during an extended standing ovation.  I’ll never forget it.

3-Being a child of the garment center and having been so immersed in the popularizing of Seventh Avenue and its designers ... what do you think of the evaporation of what was 7th Avenue and why do you think it happened and lastly do you see it becoming extinct?
It had a lot to do with greed, in making the clothes as inexpensive as possible with a large markup….the unions in the garment center made it too expensive to produce in NYC, the real estate folks saw buildings in the district with full floors dedicated to manufacturing and sewing and knew they could get top dollar as office space and showrooms, and they helped push out the workers, and it all started to be made overseas in Asia, India, China, Vietnam etc…    It’s sad to not see it all happening in the district and some of that old-fashioned garment center energy is gone.  It’s not extinct however as there is a renewed commitment to making it in NY again, however it will never be what it once was.

4-Who would you say have been your mentors, idols or influences during your long and varied career within the world of fashion and why?
Stan Herman who was President of CFDA while I was ED, has been a great mentor, the many designers in my book have been my idols and have influenced me—Calvin, Ralph Donna, Michael, Tommy, Betsey

5-Do you believe that runway shows have lost their importance due to over coverage/exposure via the age of the internet or the pandering of  the media due to advertising  budgets and the whims of certain editors rather than real merit? ... Thoughts??
The runway shows have lost a lot of their exclusivity and WOW factor, as people are much more excited about things they can’t get into and see, than they are about something available to everyone.
But with the internet, the iphones, and other handhelds- every image is instantly available and several business have been spawned allowing people to pre-order from the runway before a store even places an order….It’s a new ball game now, and we all have to adjust to the power in the palm of our hands,

6-There are so many new and wildly talented designers who don’t get recognized by the media, the CFDA or the retail establishment. Don’t you think that there should be some way to cost effectively show off all of this “hidden” talent? Any ideas or suggestions?
I do think that in NYC, there are many programs and initiatives that DO identify and help new, up and coming untested talent.  Other int’l cities are trying very hard to copy these programs.  These programs assist in fashion show expenses, cash for their business and provide mentors, and get them in front of the media.

7-Have you ever wished to once again “hear the voices” of fashion critics like Bernadine Morris or Hebe Dorsey; meaning honest to goodness fashion reviews/reportage and not front rows and venue?
Well Hebe Dorsey was before my time, but I do remember the last years of Bernadine Morris.   I miss Amy Spindler’s voice, John Duka’s wit and observance of our industry and its players, and I miss Cathy Horyn’s take no prisoner’s coverage of the collections…

8-If you could invite any 5 people to dinner ... past of present ... who would they be and why?
This is very difficult…there are many people that I’d love to dine with, but this first dinner could maybe be with YSL, Coco Chanel, Elizabeth Taylor, Pres. Obama and Diana Vreeland. I think I could just sit back and listen all night without having to say a word… each of them are opinionated, smart, brilliantly clever and talented…and maybe a sixth- having Julia Childs there cooking the meal…

9-What are your thoughts on vintage apparel as well as all the referencing that has  been going on and the fact that  rarely if ever  credit is given to the originator of the “idea” that has been recycled?
I’m not a “vintage” shopper, however many designers are.  In essence nothing is brand new and not influenced by something that came before, but I’m not surprised by not giving credit to where the inspiration comes from…Frankly it would cause havoc in an industry to keep acknowledging this.  But with that said every so often a designer’s line sheet at show will explain where the ideas came from and if there was a specific look or person that they were influenced by.

10- Given your long history and breadth of knowledge of the fashion business, how do you feel about the heritage brands from our past being reinvented in ways that have no common thread with the original DNA?
We have yet to really see an American heritage brand re-invented successfully in this country.  Halston has tried several times.   Now Chris Benz is trying to do it at Bill Blass and hopefully that will succeed.  The recent appointment of Peter Copping at Oscar de laRenta might be the first time this is working.  He is channeling the spirit of Oscar and not deviating from the look of the house, yet putting his stamp on it.   I think it is imperative that there is some connection with the original design philosophy.