A visit to The Baroness

Text and photos by Stacie Joy 

I am a wee bit nervous as I approach the Baroness and her eponymous latex shop at 530 13th St. (between Avenues A and B). I’d never worn latex before and tend to go through life in jeans and tees, which is a definite no-no at the elegant, well-appointed and provocative showroom where the Baroness designs, creates, fits and sells her line of custom, bespoke, and ready-to-wear latex fashion.

It is always a challenge to step outside one’s comfort zone, but the Baroness’ no-nonsense yet encouraging and confident demeanor guided me through the process. And I saw myself differently in the mirror…speaking of which, the fitting room mirror at the atelier is kind and the dressing room space is set up to allow for best-case scenarios when trying on outfits.

Due to COVID-19, people are not dressing up that much, there are fewer parties and events, and although the Baroness wears latex on the regular, most people would be looking for something special, maybe for a holiday? In that light, I ask the proprietrix to show me what the store has for Halloween as we chat about her history in the neighborhood and her passion for latex.

Can you speak a bit about the history of the shop and how it came to be? What drew you to the East Village and what has kept you here? Are there any special challenges to living and working in the neighborhood? 

When I first started my business (almost 30 years ago) I ran it from my studio. Then the building required work on the front wall, which would mean a total disruption, so I set out to look for another workspace. I needed to keep it close-by as I had been spoiled and feared that if I had to travel too far I would not.

I was very fortunate to find more than an atelier, the ideal workspace came with a shop at street level. Prior to my moving in the space had been poorly used but that both allowed and necessitated renovations including knocking down walls, replacing flooring, establishing lighting and electrical outlets (all in the perfect locations). As our workspace is below-ground, I painted it in lighter tones of purples, pinks and greens and had work tables and closets built so everything was at hand. 

Upstairs I chose soft blues, pinks and purples forgoing the traditional red and black of other fetish shops. I wanted it to be a place that would welcome women and make them feel safe. The dressing room was huge and hung with fabric and fitted with flattering mirrors. 

What I hadn't realized is just how much help it would be for my fit and designs as I now saw more varied body shapes in my elegant latex fashions.

Being on a side street and in the East Village meant that although I had limited foot traffic (which didn’t matter much as The Baroness is a destination) my rent was also lower than in other parts of New York. After all the work involved in renovating and establishing myself on East 13th Street it was easiest to stay put as we have for the last 12 years (despite the steady yearly increase in rent).

Of course, now with COVID-19 and having the boutique closed for months, everyone has been affected and there are many empty storefronts throughout the neighborhood. My business has been particularly affected as many of my customers now have limited funds and the usual parties and events that they would wear latex for have been canceled or simply postponed until next year. I am fortunate that much of my business comes from elaborate custom creations commissioned by loyal longtime clients and that my landlady has been most understanding during this troubled time. 

Latex is both more complicated (in construction of the garments) and more simple (in cleaning and caring for the clothes) than I’d realized. What made you choose latex as a fabric, and what can you tell beginners about wearing it?

My background has always been in clothing, fabric and art, and my motto is "any occasion to dress is an occasion to overdress," so when I discovered latex my life was instantly transformed. 

Once I began to work with latex, I enjoyed learning and exploring its mysteries. The largest being how to make it! Everything is glued and when I started, I was one of only three latex designers in North America. Latex is still a niche market and now The Baroness boutique is the ONLY shop in the U.S. that makes and sells only its own latex!

What I tell latex virgins (my absolute favorite customers) is to give in, to allow their senses to take over, to inhale the vanilla milk-chocolate aroma, to savor the sensual feeling of it against your body or the touch of another latex-clad enthusiast, to marvel in the gleam, the shine, and the highlights and lowlights of this amazing material as they watch it in motion. There is no material more sensual than latex. 

On the practical side I inquire as to their budget, their intentions, and where they will wear it to help in their choice. I explain and demonstrate how to shine  and care for their latex along with assuring them of my lifetime guarantee. 

I believe wearing latex should be comfortable not only on the body. If you want discomfort, buy it super tight, our sizes range from extra-small to extra-large, along with queen size and custom for both men and women, but also to your personal style and body image. If you aren’t comfortable in what you wear you will never look the best you can and probably that garment will be relegated to the back of the drawer or closet.

You go all out for Halloween. What do you recommend for people who may be interested in wearing latex for a holiday event but have little experience?

Halloween is my birthday and even as a child I fantasized about watching a gathering of well-dressed people. When I moved [from the UK] to the U.S. and discovered it was a holiday where everyone dressed, my dream came true.

Halloween is (as you may imagine) one of our busiest seasons, although this year is obviously an exception. We usually do the best when it falls on a Friday or Saturday and there are many vanilla parties. The most common requests are either Catwoman or a dominatrix, although we also have made an assortment of custom creations including Britney Spears, various cosplay characters, crossdressing and regular ensembles that are so unusual for the customers life as to be considered a costume, but which I hope shall be the start of their latex addiction!

Your shop sign announces You Want Latex. As the Baroness, aside from latex, what do you want?

You missed the sign’s other side, which says "You Need Latex!" What I want currently is what everyone wants: An end and cure for the virus. That, and for a world dressed in Baroness latex!

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You can keep up with the Baroness via social media @LatexBaroness, and from now through Halloween the Baroness’ popular waist-cincher (available in both black and purple) is on sale for $100 off while supplies last.

An open call to improve our 'physical fabric'

From the EV Grieve inbox a few weeks back...

From now through April 30, the Institute for Urban Design (IfUD) will turn to the New Yorkers to reframe the debate about the future of the city’s public spaces. By the City / For the City is an innovative two-part open call for ideas that begins by asking New Yorkers where they see potential for improvement in the city’s physical fabric, and then asks the international design community to respond to the challenges set forth by the public. Together, ideas from citizens and designers alike will represent an atlas of possibility for the city’s future, which will provide the foundation for the first-ever Urban Design Week from Sept. 15–20.

The IfUD will host Urban Design Week, a public festival created to engage New Yorkers in the collaborative process of city-making, including the complex issues of the public realm, and to celebrate the streetscapes, sidewalks and public spaces at the heart of city life. It will include a rich roster of discussions, tours, screenings, workshops and events across the five boroughs, and highlight the collective nature of city-building.

You can read more about it here.

Meanwhile! A progress report from the IfUD last night:

We've already had 300 ideas submitted around the five boroughs, and they really run the gamut. In the East Village, people have suggested everything from an adult exercise area in Tompkins Square Park, to a community theater and art space on East 13th, to more co-working spaces around the neighborhood for artists and startups. Someone even made the very specific and pointed suggestion that the EV aim for a reduction in the number of bars, froyo shops, and cupcakeries to chase out "the yunnies, yuppies, and tourists who just trash the neighborhood."

I'll vote for that last one... Anyway, you can leave your ideas here until Saturday. And, if you want, let me know what you picked...

"As much a part of the fabric of New York City as the landmarks she helped popularize: Magnolia Bakery, Pastis and her beloved Greenwich Village

Page Six Magazine puts Sex and the City author Candace Bushnell on the cover of its new issue.

And we begin:

Honey blond highlights? Check. Sample-size physique? Check. Closet full of designer duds to wrap around said physique? Check. But Candace Bushnell, the creative genius behind Sex and the City and the NBC TV hit Lipstick Jungle, doesn't just look like a character from one of her best-selling novels. (Take your pick: Sex and the City, Lipstick Jungle, Trading Up or Four Blondes.) By the way she lives (a feminist, she eventually married a much younger man) and who she writes about (most famously, of course, Carrie Bradshaw), Candace, 49, embodies a modern breed of New York woman that is as ambitious about love as her career. She is also as much a part of the fabric of New York City as the landmarks she helped popularize: Magnolia Bakery, Pastis and her beloved Greenwich Village.

Candace, who grew up in "upper middle class Glastonbury, Conn.," also recalls moving to New York:

After three semesters at Rice University in Houston, she dropped out to "run away to New York City." Her goal was to become a writer, but when she first moved to Manhattan in 1978 at age 19 she lived in a two-bedroom apartment on 11th and Broadway with three other girls. She had to scrape to pay her $150-a-month rent, often eating $1 hot dogs or a can of soup for meals. Dating was a way to score free meals and meet the city's glitterati.

The article doesn't get into what Candace thinks of a post Sex-and-the-City New York ... or the impact the show may have had on New York.

Still, the article notes that: she is relieved to be out of the dating pool. "There's nothing harder than being single. And things are even harder for young women these days," says Candace.When I was growing up in the 1970s, you didn't have to shave your legs, let alone have a Brazilian wax."

Village Fabrics to close next month

As I've been reporting, Village Fabrics is going out of business on First Avenue at 11th Street... ThreadNY had more details today ....

Come August, one of the last of the East Village's family-owned fabric stores, Village Fabrics, will close its doors for good.

With little more than a month before it shutters, the store is hosting a liquidation sale to clear out the rest of its inventory. Owner Stephen Katz expressed sadness and frustration over the futility of working to save the business his parents started 20 years ago. He anticipates the store will last until August, despite his persistent attempts to petition the city council and negotiate with landlords.

At this point, Katz is unsure of what the future will bring for his family's business, and for the industry as a whole. After a long time bailing out a sinking ship, he's understandably exhausted and can only take it day by day. However, with a small business like Village Fabric, they became what they did based on a sense of resourcefulness and creativity this city is famous for. That said, we can only be optimistic for the next generation of garment industry scions to help foster and cultivate fledgling design talent (and service the sewing needs of the rest of us).

Meanwhile, EV Grieve reader Dave Whitaker sent along this shot from the VF window around Halloween 2008....





Previously on EV Grieve:
Closing sale at Village Fabrics

"A handful of its buildings may seem grimly picturesque, but for the most part this is unappealing New York"

That's Simon Jenkins writing in today's Guardian UK.

It's a reaction to the National Trust for Historic Preservation naming the LES in its 2008 list of America's 11 Most Endangered Historic Places.

Here's an excerpt from his column:

A new facet of globalisation is well-meaning organisations roaming the planet listing things as threatened or on the brink of extinction. They may be a beetle, a rainforest, a Buddhist temple or, it so appears, the spirits of a city's past. Two years ago the Indiana Joneses of Unesco fought their way up the Thames to be appalled by the Tower of London. They found its setting blighted - as if overnight - by ugly office blocks, qualifying it for the "world heritage in danger" schedule. Liverpool waterfront received a similar finger-wagging.

The Tower of London is one thing, the Lower East Side another. I have been a "poverty tourist" in many awful places and felt the mix of guilt, shame and astonishment at such human resilience. But it never occurred to me to want to "save" the street camps of Calcutta, the shanties of Bogota or the inhabited concrete ruins of modern Baghdad.

The Lower East Side is not in this league, but the principle is similar. A handful of its buildings may seem grimly picturesque, but for the most part this is unappealing New York, an environment of drab tenements, public housing and vacant lots, where only the lifestyle of the fleeing minorities infuses the streets with some visual interest. The concept of "endangered" here applies to an idea, that of a cultural and social fabric, and one that is inevitably transient.

Yet the appeal of that fabric to local residents and to New Yorkers in general is undeniable. This may be a New York churning with "comers and goers", but both residents and those new to the area seem to agree on one thing: they want something of its character preserved. Conservation has matured from saving buildings to seeing them as a proxy for communities, cultures and a sense of physical identity. It is reflected in the British yearning to "save rural communities" by subsiding houses and preventing sales to newcomers, the so-called "yokel in a smock" syndrome.

Gallery Watch: Crichoues Indignation at the Hole NYC; Vantage Points at GRIMM Gallery

Text by Clare Gemima

Crichoues Indignation by Caitlin Cherry 

The Hole NYC, 312 Bowery: Showing through Nov. 15

The HOLE NYC honestly takes it up a notch with every artist they showcase.

 

Upon visiting this gallery, I was shocked to see that The HOLE had transformed entirely, with crisply painted walls, a huge amount of incredible new works and a fresh take on their whole space.

Transforming the gallery for Cherry after Cubed, their previous group show (14 international artists) that utilized the space in an entirely different means, allows viewers to understand just how important looking at art is right now, how passionate The HOLE is and how on board their team is with highlighting the current climate of technology and social media running rampantly hand-in-hand with civil unrest, the election and dismantling (or establishing) social hierarchy in 2020. 

Cherry's oil on canvas works are engulfing in their larger than life scale, confronting the viewer in a familiar digital landscape with Black Femme figures at the foreground, her gazes highlighting the way social media appropriates this community's body image, sexuality and style without highlighting their skill set or expertise. 

An image-run, surface level and vapid Instagram-esque landscape is expressed through Cherry’s undulating use of fluorescent colors, shapes and installation techniques. The artist’s hyper-sexualised characters are based on dancers, bartenders and Instagram models working at cabarets and as online influencers. 

I would recommend seeing this show for an impressive take on its online origin (a misspelt tweet that Kanye West made) that expands into a gooey, delicious and psychedelic series of abstract paintings. 

Cherry also includes a very large paintings vault, housing several canvases that gallery goers can engage with. The vault speaks to the value of archiving digital works (or lack their of) playing with online’s ubiquitous sugar-coating methods and the over-arching authenticity in the art world today. 

PS. The HOLE also has a show on by Anders Oinonen

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Vantage Points by Letha Wilson, Sonia Almeida, Heidi Norton and Claudia Peña Salinas

GRIMM Gallery, 202 Bowery: Showing through Nov. 14

Although the gallery is dominated by a vast amount of captivating and rich work by a male painter, Tjebbe Beekman (Symbiosis), if you get to the middle of the gallery and turn to your left, you will see a small door leading to a descending staircase that you can go down for a refreshing take on (finally) an all women's show!

The work deals with the natural world, conceptually and physically, as the artists criss-cross and mingle with the use of plants, grass, fibre, wax, metal and paper presented in a range of autonomous sculptures, paintings and installations in their final form.

The work in this show is presented on the ground, wall, floor and even corners of the building, challenging conventional installation techniques that demonstrate how space can be manipulated by both delicate and less delicate forms. Nature versus structure, hard versus soft, digital versus organic, etc.

Wilson, Almeida, Norton and Salinas' work compliments each other as much as it highlights the differences in each piece. The most compelling work for me was Reverse timeline (2019) by Sonia Almeida, made out of printed fabric, screen print, fabric pen, cotton, polyester and wool hung from the ceiling, and The Museum Archive by Heidi Norton made out of five panels of glass, resin, plants, beam splitter glass, photo gels, photographic prints, film and an aluminum stand.

This is GRIMM Gallery’s final show before they move to Tribeca.

~~ ~~ ~~ ~~ ~~ ~~ ~~ 

Clare Gemima is a visual artist from New Zealand. New-ish to the East Village, she spends her time as an artist assistant and gallery go-er, hungry to explore what's happening in her local art world. You can find her work here: claregemima.com 

"This is the time to think about the importance of old buildings in New York's urban fabric -- and how to preserve those worth keeping"

Julia Vitullo-Martin, a senior fellow at the Manhattan Institute, has an op-ed in the Post today on why it's time to save the city's imperiled landmarks:

The pause in New York City's building boom may have one side benefit: It gives everyone a chance to think. As projects skid to a halt and buildings get stopped in mid-construction, developers - and their neighbors -- have an opportunity to reassess their plans and consider different options for the future. Can that gorgeous but crumbling church on the corner be saved with neighborhood support? Is an old industrial warehouse a candidate for rehabilitation rather than demolition? Could a clever architect renovate that empty commercial skyscraper for residential? This is the time to think about the importance of old buildings in New York's urban fabric -- and how to preserve those worth keeping.

The Post also offers up a listicle of the 10 endangered buildings in the city worth saving, such as the Corn Exchange Bank in Harlem (pictured above) on the northwest corner of 125th Street and Park Avenue. You can view the slideshow here.

I Am a Rent-Controlled Tenant

East Village resident Susan Schiffman documents the apartments of rent-stabilized tenants — and for this post, rent-controlled — living in the East Village for her Instagram account, I Am a Rent Stabilized Tenant. She will share some of the photos here for this ongoing EVG feature.



Photos and text by Susan Schiffman

Tenants: Terry (since 1975) & Charlie (since 1965)

Why did you come to the East Village?

I came to the East Village because Charlie and I met. We started dating. We met in Ty’s, which is a gay bar that still exists, much to our amazement. It is on Christopher Street. Do you know the Moth? Charlie did a story on the Moth about the first night we met. It’s called “Just One Drink.”

Charlie said he didn’t want to date. His friends said “they’re not going to come to you, so you must go out to them.” Charlie said, “all right, I will go to a bar and I will have a drink.” And then we met.

I was living on Sullivan Street at the time. There are 13 years between us. I was younger and he was more mature. He had been in this apartment already for over a decade. We dated for about six months. I had a lot of stuff here and a lot of stuff there. My lease was coming due. We started talking about moving in together. I moved in.



How did Charlie find the apartment?

He was living on the Upper West Side. He was a theater, artistic, 100-percent visual person. He had a dear, close friend who was female. They were young, it was the 1960s. They decided to get married. She knew he was gay. Unfortunately, marriage kind of killed their friendship. They decided it was a bad idea that they had gotten married and got a divorce. It was amicable.

A friend who lived across the street from this apartment told Charlie that the apartment was available. The previous tenant had lived here for over 50 years and had passed away. Charlie got the apartment. It was a mess. Nothing had been done for 50 years. The floors were bare and the walls were crummy. He was 27, a designer with an artist’s eye. He said, “I can fix this.”

There are things in this apartment that have been here since I arrived. With a little bit of work we could make that something. The dresser came out of somebody else’s apartment. He was young. He didn’t have any money. Whatever he found he found a way to use it. When he did have money, even actors make money occasionally, he would buy art.

He had a friend who didn’t know what to do with himself so Charlie said you should find something and focus on that and collect it and see what you can do. Charlie decided it was going to be owls.



If you knew Charlie he doesn’t wait for you to say yes, he just starts doing it. He started finding owl things. His friend never did take up the owl project.

[Terry gestures to some of the photos and paintings on the walls]

That is Marin County looking at San Francisco. We were waiting for the ferry into San Francisco.

This one is a friend of ours, Steve and his wife on their trip to Norway. He did this one of the fjords in Norway. He was inspired by Charlie’s panorama technique.

That we bought on Second Avenue from a guy who had a table on the street. I grew up in the country. Charlie was born and bred in Brooklyn.

That is by Buffie Johnson. That’s actually Yul Brynner at the time he was making his Broadway debut with Mary Martin. Charlie found it in a thrift shop. He contacted Ms. Johnson at one point and she said “Oh is that what happened to that? I had some work being done in the house and it just kind of disappeared.”

That’s my spirit of the swamp.

The fabric thing is because the walls are terrible and Charlie was a designer. He designed clothing and costumes. He would, we would, we did these kitchen walls three times. Charlie would find a fabric that he liked. It was orange first, then brown then black. He would sew the panels together and then we would get up on the ladder with a staple gun and start laying it around the room. It’s smooth and then you can’t see the walls behind it, which are just a disaster.





What do you love about the apartment?

What I love about this apartment is that it represents our life together. I have not changed the phone message since Charlie passed away in September. If you call you will hear “you have reached Terry and Charlie.” I’ll get to it. I’m not ready yet.

In this moment in time, this is our home. This is where we lived. I went back to college and got a new career. We did everything we needed to do to live a life together. This was our home base. This was Charlie’s sanctuary. Sometimes he had a little trouble with the world. He felt safe here.











If you're interested in inviting Susan in to photograph your apartment for an upcoming post, then you may contact her via this email.

Out and About in the East Village

In this weekly feature, East Village-based photographer James Maher provides us with a quick snapshot of someone who lives and/or works in the East Village.



By James Maher
Names: Kathy Kemp (left) and Kimberle Vogan
Occupations: Clothing designer/owner, employee at Anna
Location: Anna, 11th Street between 1st and 2nd Ave.
Time: Friday, May 2 at 4:30 pm

Kathy: I’m from outside of Reading, Pennsylvania. It was a pretty small town. I usually just tell people I’m from Philadelphia. I was 23 when I moved to Philadelphia. I went to college there and studied cultural anthropology and then I didn’t know what I was doing, so I moved here with a friend.

I never was drawn to New York City or the East Village but I was always interested. Somehow I landed here. I knew I wanted to do something in fashion but I didn’t know what I wanted to do. I had friends who were stylists and then someone said to me, ‘You should just do something that you love. Think about what you love and what you are good at.’ I thought, ‘Well, I’ve always made clothing and I know how to sew really well. I love shopping. I’ll open a store!’

What a great idea, because I didn’t have any money at all, but I looked around and found a place on East 3rd Street in 1995. Then it was definitely doable; there were people doing it all over. It was stupid and easy if you wanted to take the chance. If you just wanted to, you could blow the $3,000 that you had, go have fun, and meet a lot of new people and connections. Now you can’t even do that. I feel really sorry for people today who want to do this, because it’s almost impossible to do it these days.

I had less than $5,000 dollars and my rent was $600 to start but the catch was that my store used to be a drug-dealing place that sold cocaine and pot. The place had just been busted; it was broken apart. It used to be called Village Bikes — a bike shop that wasn’t really a bike shop. I walked in there and the police must have smashed everything, including the electrical box. We went back to the bathroom area and the toilet was completely smashed down to the sewer line. The only other thing that was in the space, besides smashed-up stuff and graffiti and old, smashed up florescent lights, was this huge mound of bikes in the middle, to make it a convincing bike store to be in. I had to clear those away and underneath all of the bikes was a giant hole in the floor that you could see the basement through. That was why it was $600 a month.

Then after I opened my store, for like 10 years afterwards, people used to come in and ask, ‘Is this the bike shop?’ I’d have to say, ‘No, this is a clothing shop.’ And then they’d ask, ‘Oh, well… do you sell bike parts?’ Ironically enough, the bike people had moved to the tire shop down the street. There was a tire shop where the Snack Dragon is now.

Kimberle: If your friend came into town and they got their car broken into you could just go to the tire shop and be like, ‘Yo, can we at least have the luggage back? Can you just keep what’s in it?’ And they’d be like, ‘Well, if you go down to Avenue D on the corner and look in the garbage can, it might be there.’ So you could go there to pick up your lost stolen belongings.

Kathy: People would get meth around the corner and some people would sell it on 3rd Street right out front. They’d go into the phone booths and leave the drugs in a paper bag. They all knew that nobody normal was going into a phone booth these days. Then the next person would come along and pick up the paper bag.

Kimberle: Every Monday and Friday were Meth Monday and Friday. I would go outside and just start sweeping really big and they’d plead me to stop.

Kathy: When I think about it, I was really stupid when I opened up the store, but I was also very, very lucky. I never would have done it knowing everything that I learned the hard way for 20 years. I was lucky because I landed in this spot. It was the 1990s in the East Village. Everyone was so supportive. It seemed like I landed in freelance central, where I was surrounded by writers, so people wrote about me, and stylists, who were walking home from pulling for their jobs and got stuff from my store. Even makeup and hair people would kidnap me and do makeovers on me. It was like a dream.

The first day that I opened my store so many great and amazing people came in that I left thinking it was too good to be true. I left thinking the store was going to burn down because this couldn’t be happening. It was the opposite vibe of now, where everyone walks around seeing what’s closed. It was, what’s new, what’s going on, what’s that going to be?

I opened up at 12 or 1 at the time. I was a workaholic when I first opened. I love the city so much I couldn’t believe it. I didn’t leave for three years at all until I met my husband. I’d wake up and work, do all my fabric sourcing and stuff and I’d go to work and a lot of people from the neighborhood would roll out of bed right as I was opening my gates. People would come in and have their coffee with me. It was really, really cool. A lot of the same people have shopped here since then.

Kimberle: It was like a therapist’s office. Lots of neighborhood people would come in to talk. I’ve worked with Kathy off and on for 17 years, but I shopped here every day for 3 years before I started working here. I was one of the crazies. Every day I shopped here because she got things in all of the time and for a lot of the pieces there are only one or two or three of them, so you want to know what she’s doing and you want that piece. I would come in everyday after work to look for what to wear to work the next day.

Kathy: I design all the clothes now but when I first opened up I was a vintage shop. I immediately realized that if you have a vintage shop, then everyone wants the same thing, so I just started changing everything to look like that one thing. For instance, one of the items that we did was dyed slips. We started dying slips in crazy colors. We dyed them day-glow colors. People were just crazy then. People would come in and would be going out to clubs at night and would want to wear something that was crazy. When I design something, I usually buy the fabric and make the sample on a mannequin or myself and then I give it to my sample maker who I’ve been working with for 17 years. I design everything except the jewelry.

Kimberle: I remember back in the day, it wasn’t always about going home to get ready to go out and planned out like that. You either worked or you didn’t work in the daytime, and if you did or didn’t, you just went over to a coffee shop like Café Limbo and hung out. Sometimes they’d have a sale, and then you might go down and have some Sushi at Avenue A Sushi. You’d go there and get sushi and then you’d go to Anna and somewhere else and you’d pick your outfit.

Kathy: Everyone was trying to outdo everyone, but not in a competitive way — just because it was fun.

We moved to 11th Street nearly two years ago. I loved 3rd Street and I missed my neighbors. It’s hard for me to change. I’m someone who resists change.

Kimberle: Moving to this street seems like a big upgrade to a lot of people. “Wow, you’re on shopping alley and you have all this space.” On 3rd Street we didn’t have a bathroom or a dressing room but it was home. It was the people who came there that made it home. We used to have people just walk around the store in their bras. There would be like 5 people just in their bras. They were comfortable. Those people come here now and it feels like being in a mansion. They want to take their clothes off in the middle of the store and we’re like, ‘there’s a dressing room now.’

James Maher is a fine art and studio photographer based in the East Village. Find his website here.

Royale looking forward to the next 10 years on Avenue C

As we've been reporting, the owners of The Wayland on Avenue C are planning on opening a new neighborhood bar called The Drift ... first at 129 Avenue C, then when those plans didn't work out, at 157 Avenue C, the current home of Royale. In fact, co-owners Robert Ceraso and Jason Mendenhall were on this month's CB3/SLA agenda for a new liquor license for the space.

Apparently, this is no longer in the making at the Royale space. We heard from Royale's management yesterday, and they assured us that they aren't going anywhere ... Royale even renegotiated a new 10-year lease at No. 157 between East Ninth Street and East 10th Street.

Here's a statement that Royale management shared with us:

As we go into our 10th year of business, we would like to thank all of our loyal customers for their dedicated patronage. We are unendingly grateful to all of our wonderful neighbors, who together have helped to weave the complex and rewarding fabric of this exceptional community.

After being welcomed so many years ago, we have always attempted to return the favor the only way we know how: with a smile, a burger, and a place you can hopefully call your home away from home.

Even when tragedy struck in the form of Hurricane Sandy leaving us as well as our neighbors struggling, it was your continued love and support that allowed us to grow and move forward.

Most of all, though, we just feel really damn lucky to be part of your lives.

All of us at Royale are looking forward to serving our beloved community for the next 10 years and we hope that you will join us.

Happy 2016,
Royale

We asked Ceraso for comment on this development.

"The Wayland supports the Royale team's decision to continue at their location on Avenue C. They have always been good neighbors and we are glad that they will continue to be for years to come," he said via email.

And as we noted yesterday, Ceraso is hosting a neighborhood meeting tonight at the Wayland, 700 E. Ninth St. at Avenue C. This meeting is still a go, though the agenda is slightly different with the Royale space off the agenda.

"We still extend our invitation to our neighbors to come and have a sit down with us at the Wayland to discuss anything and everything anyone has on their minds and to try to start a healthy dialogue between neighbors and bar owners that we hope can benefit all of us," Ceraso said. "We’ll serve some food and some drinks and hopefully make some new friends."



Previously on EV Grieve:
Wayland owners catching a Drift on Avenue C

Wayland owners now eyeing Royale space for The Drift on Avenue C

Wayland owners hosting a neighborhood Q-and-A tomorrow night about new venture at 157 Avenue C

Avenue C for change?

As I mentioned on April 20, yarn/fabric/gaming shop Olivo's on Avenue C near Fourth Street was closing. Elias Olivo, whose father opened the shop 36 years ago, told me recently that they're simply closing because business has been bad. While the new lease had a modest increase, he said they just couldn't make the business profitable any longer. Olivo said they would remain open for several more weeks.

Meanwhile, I wonder what will happen on this southern stretch of Avenue C. The eastern block between Seventh Street and Sixth Street has a newish high-end wine shop, a soon-to-open brickoven pizza joint called Mr. C's and two vacant storefronts advertising "luxurious" apartments and retail space.

What else is happening on Avenue C?

Fine Fair got a new paint job.



There are several empty storefronts on the west side of Avenue C between Sixth Street and Second Street...





And as I've speculated before, how long before the south side of C at Third Street looks like the north side?



And 272 E. Third St. is now for rent. It has been refurbished to house a doctor's office. (Rent: $4,950 a month.)



One last thing... Yoli (pictured at the left above), a delicious hole-in-the-wall Dominican restaurant with three tables, was closed last night when I walked by... Hope that's not a bad sign...

For further reading on EV Grieve:
What's happening at the Umbrella House?

Total 'Recall' — new exhibit explores unsettled memories

East Village-based artist Jessica Frances Grégoire Lancaster is one-half of a new show (along with Pajtim Osmanaj) titled "Recall" that opens tomorrow (Saturday!) on the Lower East Side. 

Here's more via the gallery, Trotter & Sholer: 

"Recall" presents an exploration of unsettled memory through paintings based on photographs. Memories are notoriously unreliable, yet they are the very fabric of the narrative self. In this exhibition, both artists are exploring events captured in photographs. 

These photographs are used as source material, spliced and reconfigured to construct moments of time both fragmented and imagined. Using oil paint, these artists play with the idea of remembering and the act of making memories. 

"Recall" will be on view at 168 Suffolk St. between Houston and Stanton through Oct. 21. The opening reception tomorrow is from 4-8 p.m. 

Trotter & Sholer is open Tuesday through Saturday, 12 to 6 p.m.

CB3 committees to hear update from city on proposed 14th Street tech hub

[Rendering via NYCEDC]

Tomorrow (Wednesday) night, there's a joint meeting between two Community Board 3 committees to hear an update from the city on the "proposed workforce development and digital skills training center" at 124 E. 14th St.

This is the so-called tech hub at the city-owned site that P.C. Richard currently leases on 14th Street at Irving Place.

Last February, the de Blasio administration unveiled the renderings for Civic Hall featuring "a tech-focused work and event space" that will anchor the 20-plus story building.

Per the city's news release on Civic Hall:

“This new hub will be the front-door for tech in New York City. People searching for jobs, training or the resources to start a company will have a place to come to connect and get support. No other city in the nation has anything like it. It represents this City’s commitment to a strong and inclusive tech ecosystem,” said Mayor Bill de Blasio.

As you may recall, this announcement prompted another push by local residents who fear that the fabric of the neighborhood will be destroyed by a host of new developments south of Union Square along Broadway, University Place and Fourth Avenue. (And not to mention the Moxy hotel coming to 11th Street.)

The Greenwich Village Society for Historic Preservation (GVSHP) has been leading the efforts behind a rezoning of the area to enforce some height restrictions and affordable housing requirements. The GVSHP lays out their case here.

The tech-hub project needs Planning Commission and City Council approval.

Tomorrow's meeting of the Land Use, Zoning, Public & Private Housing Committee and Economic Development Committee starts at 6:30 p.m. This is listed as the first item to be discussed. The meeting takes place at the University Settlement, Speyer Hall, 184 Eldridge St. between Rivington and Delancey.

For more background, NY1 covered the story on Saturday here.

Previously on EV Grieve:
Behold Civic Hall, the high-tech future of Union Square — and NYC

Speaking out against a 'Silicon Alley' in this neighborhood

Gothamist turns to Kickstarter to speed up its return

Back in February news broke that Gothamist was returning, thanks to WNYC and its parent company New York Public Radio — along with two anonymous donors — who had acquired the local news site's assets.

And yesterday (ICYMI), the Gothamist co-founders launched a crowdfunding campaign to raise $100,000 by May 4.

Per Kickstarter:

And now it’s our priority to build out the site and bring back the Gothamist you love. We aim to get Gothamist back to full strength and make it sustainable for years to come.

With your support, Gothamist will have the resources to expand coverage of issues that are vital to the social fabric of New York City: transportation, affordable housing, gentrification, demonic landlords, immigration, and the living wage struggle. We’re proud of our past work on these topics—as well as our vibrant culture and food reporting—and we’re committed to deepening and diversifying our coverage of New York City.

Gothamist is now a part of member supported New York Public Radio, which is a registered 501c3. Your pledge is tax deductible, minus the value and/services of your selected reward and credit card processing and Kickstarter fees. At the end of the campaign, when we reach our goal and credit card transactions are completed, we will send out tax acknowledgement letters.

It’s simple: all funds raised with this Kickstarter will go to funding Gothamist. The first $100,000 will help revive the website and bring back our popular newsletter. It will also enable us to preserve the Gothamist and DNAinfo archives. But this is just the beginning. The more we raise, the better we can serve you.

As of this morning, they'd already raised more than $73,000.

And a few more details via the Observer:

It might seem strange for a site to crowdfund after being acquired by another company. But the Kickstarter funds, along with the funding for the acquisition, will help Gothamist relaunch faster than it would have otherwise.

“We were fortunate to be able to quickly shore up the support we needed to make the acquisition by connecting with funders who share our commitment to local journalism,” Jennifer Houlihan Roussel, vice president of communications for New York Public Radio, told Observer. “The Kickstarter will enable us to launch as quickly and as robustly as possible.”

Dobkin will handle strategy and revenue at the new Gothamist, while co-founder Jen Chung will be in charge of editorial matters.

After this initial funding push, Gothamist will transition to WNYC’s fundraising model, which relies on membership, philanthropy and sponsorship. Dobkin said he hopes to garner 10,000 to 20,000 subscribers for the site and also woo new advertisers.

Publisher Joe Ricketts abruptly shut down Gothamist and DNAinfo last Nov. 2 after the newsrooms of both sites voted to join the Writers Guild of America East. DNAinfo, however, will not be returning. Its archives will remain online.

In unrelated news about local sites, prospects remain at their dimmest for a return of EV Heave, though the publisher will listen to offers in the two-figure range, we're told.

For further reading:
Gothamist's Kickstarter Raises More Questions Than It Answers (Splinter)

Local politicians call on SantaCon ' to adopt good-neighbor principles'

[Dave on 7th, from 2011]

From the EV Grieve inbox…soundbite alert!

Coalition of Local Elected Officials Calls on SantaCon to Adopt Good-Neighbor Principles

New York, NY – Today, New York State Senator Brad Hoylman, along with State Senators Liz Krueger and Daniel Squadron, Assembly Members Richard Gottfried, Deborah J. Glick and Brian Kavanagh, and City Council Members Daniel Garodnick, Rosie Mendez and Margaret S. Chin, announced a set of principles organizers must follow to rein in the annual scourge known as SantaCon. During this massive pub crawl, thousands of participants dressed as Santa Claus overwhelm neighborhoods, violating numerous laws and regulations and creating major hazards to public safety along the way.

The coalition of officials recognize that SantaCon may be a short-term boon to a select group of local businesses, but it imparts many adverse impacts, such as vomiting in the streets, public urination, vandalism and littering. In a letter sent today, the officials requested that SantaCon adhere to the following three principles:

1) Make public and follow defined routes;

2) Ensure respectful participants; and

3) Implement a comprehensive safety plan.


“What should be a frivolous and lighthearted event has become little more than a costumed parade of drunken lawbreaking,” said Senator Hoylman. “Any large event in New York has to be respectful of its surrounding community. To avoid ending up on the naughty list again, SantaCon organizers must adopt these principles and maintain an orderly event.”

The coalition letter reiterated a request that Senator Hoylman made to SantaCon organizers last month to work with local Community Boards and the New York City Police Department to identify ways the event can significantly mitigate its impact on the communities it visits. Despite assurances from SantaCon organizers that they would work with the NYPD, no details have been made public.

“For hundreds of years merry-making in taverns, beer halls and bars has been part of the fabric of life in our city, but there’s nothing merry about a costumed, abusive crowd wandering the streets spreading mayhem,” said Senator Liz Krueger. “If SantaCon’s organizers want to spread cheer instead of fear in our neighborhoods this holiday season, they’ve got some work to do.”

“’A group of drunks in Santa suits walk into a bar’ might sound like the start of a joke, but there's nothing funny about SantaCon,” said Assembly Member Richard Gottfried, who represents Hell's Kitchen/Clinton. “If the organizers and participating bars can't protect the public, the police and the State Liquor Authority need to act.”

“Our communities have suffered by the actions of participants of SantaCon for too many years. While I appreciate patronage to small, local businesses, this event does so at the expense of public health and safety of participants and community members. A thoughtful, public plan must be established and made available,” said Assembly Member Deborah J. Glick.

“Dress as Santa to go drinking if you must, but you’d BETTER be good, for goodness sake,” said Assembly Member Brian Kavanagh.

“Anytime we have a large, organized event in New York City, we need to ensure that the NYPD and local communities know what to expect,” said Council Member Dan Garodnick. “We are looking to the organizers to develop a plan that allows the fun to continue while respecting the rest of the community.”

“We have made a list of guiding principles for this year’s SantaCon—and we’re checking it twice. While everyone appreciates holiday cheer, it is important that the organizers and participants respect the surrounding neighborhood and work toward a festive but safe event,” said Council Member Margaret S. Chin.

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