How Nightclubs Became Museum Pieces

WEIL AM RHEIN, Germany — In May 1985, the Palladium nightclub opened its doors to a Who’s Who of the New York art world. Andy Warhol, Keith Haring and Larry Rivers were all there to check out the new club billed as a successor to Studio 54, the infamous nightspot that had closed in 1980, known for its wild parties and its unforgiving velvet rope.

The two venues defined New York’s night life in the ’70s and ’80s and had a lasting impact on pop culture: Studio 54 as the disco-fueled hedonist’s playground, and the Palladium as a meeting place for the city’s cutting-edge artists.

The Palladium, designed by the Japanese architect Arata Isozaki, features in a new exhibition, “Night Fever,” at the Vitra Design Museum here, not far from Basel, Switzerland. Photographs of the venue’s interior capture Mr. Haring’s giant mural of dancing figures and the banks of television screens suspended from the ceiling.

Through a collection of night life artifacts that includes a scale model of the Berlin superclub Berghain, a piece of the dance floor from the Haçienda, the Manchester club associated with the rise of rave culture in Britain, and a mirrored sound installation in which visitors can listen to disco and techno playlists, the exhibition positions the design elements of nightclubs as central to their role as incubators for pop culture.

“When I think about design, whether it’s in a nightclub or hotel, it’s not so much how it looks, it’s about how it makes you feel,” Ian Schrager, the former co-owner of Studio 54 and the Palladium, said in a telephone interview. “You’re not doing it to help you sell something else, the design is there just to lift your spirits.”

“It’s best if you don’t notice a club’s design,” Jochen Eisenbrand, the exhibition’s chief curator, said. “But it actually broadens the notion of what architecture and interior design is about because it’s to do with creating an atmosphere.”

While Studio 54 and the Palladium feature prominently in the show, it also includes ephemera from lesser-known venues. “There’s an existing canon of which clubs are important,” Mr. Eisenbrand said, “but we also tried to show the different aspects that clubs can be important for.”

There is a display from a short-lived New York venue called Cerebrum. Designed by John Storyk, the SoHo venue was open for less than a year between 1968-1969 but it graced the cover of Life magazine, which called it a “cabaret for the mind.”

It was more a performance art venue than a nightclub: Guests were required to don white gowns and were then led by attendants through an interactive experience that featured 360-degree psychedelic projections. Each evening was different; one involved projected images of snowy New England, complete with flakes falling from the ceiling and hot cider for the guests.

“It was a sort of virtual reality environment, if you will,” Mr. Eisenbrand said. “These early clubs created really immersive environments.”

The Electric Circus in the East Village was another club from this time that blurred the line between a disco and an experimental theater. The club, which in a previous incarnation was run as the Dom by Mr. Warhol, was redesigned by Charles Forberg and became known as a place where creativity and counterculture collided. A New York Times report from 1967 described how “a model in a purple and silver polka dot jumpsuit sailed through the air in the Electric Circus discothèque Monday night and landed in the arms of a man dressed as a gorilla.”

What was happening in New York during this period also made its way over to Europe. In Italy, a group of young architects were already using nightclubs as testing grounds for their avant-garde designs. Inspired by what they saw at the Electric Circus, Grupo 9999, a collective associated with the Radical Design movement, went on to open Space Electronic in Florence in 1969.

The venue, housed in a former engine-repair shop, featured a parachute suspended from the ceiling and was furnished using salvaged washing-machine drums and refrigerator casings. During the day, it housed an experimental architecture school; one project involved planting a vegetable patch on the dance floor. “It was an interesting moment in Italy because there was discourse about what a club is,” Mr. Eisenbrand said.

Ms. Rossi attributed venue closures to a general shift among young people from a culture of “hedonism to health,” as well as the rise of dating apps which remove the need to go to nightclubs to meet people.

In 2015 the London club Ministry of Sound commissioned the prestigious Dutch architecture firm OMA firm to design a new venue. The ambitious plans for the project, which Ministry of Sound canceled without explanation, feature in the exhibition.

The multiuse space included mechanical walls that would change the building’s shape. “We organized our project as a collage of different components which represent the anatomy of night life today,” Ippolito Pestellini Laparelli, an OMA partner, said. “It was a catalog of all the programs and activities that have been characterized in night life in the past 30 years and combined them all together in an ultimate club.”

The plan was for a building that morphed from day to night and included a vinyl store, a cafe, a VIP entrance and suite, a radio studio, space for fitness classes, and, of course, a dance floor. Mr. Laparelli described the designs as a model for responding to the needs of changing night life. The increasing popularity of upmarket music festivals, as well as early-morning, alcohol-free dance parties such as Daybreaker, suggest that tastes are evolving and, indeed, that many once-nocturnal activities are now taking place by day.

Venues that operate solely as nightclubs are becoming increasingly challenging to run, according to Ms. Rossi. But that, she said, was not necessarily an indicator that night life was in crisis. “The emergence of spaces that operate at different times of day or have multiple functions, suggests there is an ongoing need to go out clubbing,” she said.

“Club culture was born in the explosion of youth culture in the 1960s and we’re now in a different environment, so it does make sense that club culture is changing.”

For Mr. Schrager, the spirit of night life is not all that different to how it was during his heyday of the late 1970s and early ‘80s. And it was quite straightforward back then. “When you put the design in there, the result is more than the sum of the individual parts,” he said. “It creates an alchemy.”

Night Fever
Vitra Design Museum, Weil am Rhein, Germany through Sept. 9;

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Here’s Where to Go After Frieze New York

For some, the Frieze New York booths at Randalls Island hold a certain allure. For others, banquettes and bar stools provide a more palatable perch for viewing groundbreaking — and bank-breaking — artwork.

Barflies can find solace in a handful of newer spots that pair booze with blue chip pieces. And while this kind of cultural capitalism has precedent stretching back to Picasso, nothing feels more now than swilling a $17 drink beside a Shepard Fairey mural at Vandal on the Bowery, a street that Theodore Roosevelt once described as “haunted by demons as evil as any that stalk through the pages of the ‘Inferno.’ ”

For better or for worse, today’s demons are sheathed in sequined mini-dresses and backward baseball caps. This is the new New York, and to guide you accordingly, a Frieze alterna-art crawl.

The (Literal) Work of Art

“How do I say this? It’s pretty dope,” said a barista of working at the gallery Hauser & Wirth’s Roth Bar in Chelsea, a lighthearted assemblage that’s as close as one can get to drinking rosé inside a real sculpture. Bjorn Roth, son and collaborator of the late artist Dieter Roth, created the space with his sons Oddur and Einar. “Most people like it. And the more they drink, the more they like it,” Mr. Roth said. “I like it very much when I’ve spent maybe an hour there.”

Mr. Roth’s bar and restaurant is a mash-up of found objects ranging from keyboards to paintbrushes to power strips to defunct TVs. Light bites, including the ubiquitous avocado toast, are available, yet another natural extension of the Roths’ proclivities. “You know, it is, in a way, a family tradition — we love cooking, and we’re known to be quite good drinkers.” Roth Bar, at Hauser & Wirth, 548 West 22nd Street, 212-790-3900,

The Site-Specific Installation

For a dose of au courant cool, look no further than Straylight, a cocktail cave in the styling of the artists Justin Lowe and Jonah Freeman. Guests are guided down a steep, narrow corridor lined with lo-fi video art of zombified yogis, quack beauty products and double-take pharmaceutical posters — all awash in pink and purple hues. The nouveau ’70s-style bar just beyond couldn’t feel farther from the stairwell installation, and according to Max Levai, a co-owner of Straylight and the izakaya and omakase hot spot Juku above it, that’s very much the intent. “I feel like, at that point, you’re really fully transported, and you ask yourself, ‘Where am I?’ ”

That kind of doubletake will get you to dole out anywhere from $15 to $24 for a cocktail by the mixologists Jamie Jones and Dorothy Elizabeth — and you’ll be glad you did. Concoctions such as Field, a heady mix of Makers Mark, shiitake, oats and bitters, feels as unexpected and as colorful as the faux-stained glass canvas ceiling. Straylight, 32 Mulberry Street, 646-590-2111;

The Millennial Magnet

Nothing conjures a certain kind of millennial cool more than the word “Bushwick,” and Bowen Goh and Vanessa Li’s bar Mood Ring translates whatever that is into a tucked-away bar studded with kitschy-chic work from artists in the area.

The ceiling blooms with fake potted plants, scraps of fuzzy pink fabric, and a spinning Chinese lantern — purposefully tacky and tactile in the way that everything else is here (note the pebble-strewn bar by Dilan Ray Cheavacci and the gender-neutral bathrooms, their walls studded with plates bearing images of celebrities like Paris Hilton and Justin Timberlake, each paired with a matching mood ring).

The art world connection isn’t immediately apparent, but almost everything you can make out was concocted by Mr. Goh and Ms. Li’s handpicked list of artists, including Tessa Modi, Leander Capuozzo and Mohammad Asgari. “We had this kind of idea that we wanted to add a new thing to the space every week — kind of like a rotating gallery,” Mr. Goh said. “Every time someone comes here, it looks totally different.” The zodiac-inspired cocktail specials amplify this sense of flux; the Taurus special is jasmine-infused Tito’s cut with basil simple syrup, yuzu, dry vermouth and lemon. Mood Ring, 1260 Myrtle Avenue, Bushwick; 917-818-1738;

The Street Art Star

Vandal, the TAO Group’s 2016 paragon of fine dining on steroids, takes the Lower East Side’s once-gritty street art culture to glittering extremes. “In some cases, we, as a group, totally overdesign,” said Richard Wolf, a partner at TAO. “But is there really such a thing?” You can decide for yourself — if you make it past the squadron of hostesses and de facto traffic controllers set up at checkpoints like a culinary version of Disney’s Magic Kingdom. If you’ve popped in, sans reservation, bets are that you’ll remain in limbo for a spell, perusing artwork curated by Pop International Galleries and hung in an antechamber.

“Take a piece of Vandal home with you,” a flier reads, and for $350, you can pocket a signed and numbered unframed work by Dom Pattinson or Sean “Layercake” Sullivan. What you can’t take home are the wall-spanning murals by such heavyweights as Mr. Fairey, Tristan Eaton and Vhils — seven artists in all, assembled by the British artist Hush. “He had a very, very distinct idea,” said Mr. Wolf of Hush. “He said, ‘No. 1: Every artist in the place has to have been arrested.’ Hence the name Vandal. That was no accident.” One could cheekily suggest that the name might refer to the restaurant’s penchant for charging $17 for sticky rice dumplings. Vandal, 199 Bowery; 212-400-0199;

The Postmodern Pastiche

Then again, big-name artists have long contributed to the walls of their preferred establishments — whether out of affection or, more likely, a real need to pay the bills. Picasso gave his work “Flower Vase” to the French Riviera’s La Colombe d’Or. It’s not likely that the architect Peter Marino consciously mined this art-historical moment when channeling Picasso for his sculptures and collages flanking The Lobster Club, but it’s a nice thought.

More likely, the space’s Cubist flourishes are meant to play off the collection of Picasso’s ceramic plates that belonged to the now-defunct Brasserie, which used to occupy the space below the former Four Seasons. The plates now hold court behind the gleaming bar, where you can nurse an elderflower-spiked lychee martini and eye Marino’s four original works. When the restaurant opened last November, the paintings were — follow this — reworks of the artist Richard Prince’s paintings of Picasso nudes. It’s pastiche for the Upper East Side set, and it’s enough to warrant another round of those lychee martinis. The Lobster Club, 98 East 53rd Street; 212-400-0199;

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Boîte: Straylight, an Art Bar in Chinatown, Opens in the Shadow of Le Baron

Back in 2012, when the jet-setter franchise Le Baron planted three floors of Parisian cool and a garrote-like velvet rope on a sleepy curl of Chinatown, many people assumed New York night life was entering an era of glamour amid Gitanes smoke. It closed three summers later.

Straylight, a cocktail bar below a Japanese restaurant called Juku, opened in the same building in March, with less fanfare and fewer Scarlett Johansson sightings. Have times changed enough for Straylight to thrive where Le Baron perished?

“It’s a destination, but in some ways, it’s at the center of everything,” said Max Levai, an owner of Juku, who runs the Marlborough Contemporary gallery in Chelsea. (He was also an owner of Happy Ending, which recently reopened as Better Days.) On a recent Saturday, he led a tour through Straylight’s innards. “The space had this sort of allure,” he said. “It’s windowless.”

The Place

Unlike “Dimes Square,” a burgeoning area anchored by the Dimes cafe on Canal Street, Mulberry Street’s southern tip remains quiet. Straylight visitors enter through a stairway art installation (by Jonah Freeman and Justin Lowe) with harsh fluorescent lighting, fictional pharmaceuticals and videos of zombies doing yoga. The modest space has a bar, tables and a capacity of 80. With mosaics, wood paneling and fabric stretched across the ceiling to resemble stained glass, there’s a California-in-the-’70s, Cielo Drive vibe.

The Crowd

Mostly diners, before and after gorging on uni, and art world associates (during Armory Week, Straylight hosted a party for the Berlin dealer Johann König). One night, a table of men wearing blazers over scoop-neck tees looked like a convoy of Iberian hit men. Later, a group of St. Patrick’s Day merrymakers, draped in green beads and Jets jerseys, tottered down the stairs, swayed momentarily in confusion and, bless their sodden hearts, staggered out.


Bad news for Coolio fans: The current blend of 1990s rap standards is being phased out in favor of more atmospheric selections.

Getting In

21 and over. Reservations are unnecessary.


The ambitious menu includes a drink called Garden, which blends vodka with edamame, pea shoots and mint ($16). Sapporo, on draft, is $7. There’s a cocktail “omakase” option that pours smaller versions of five drinks for $60. “It’s a chance to try different things without getting totally plastered,” Mr. Levai said.

Straylight, 32 Mulberry Street (between Mosco and Bayard Streets), (646) 590-2111; Open Thursday to Saturday from 6 p.m. to 2 a.m.

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What Happened at the Pulse Nightclub

In one of the deadliest mass shootings in American history, Omar Mateen killed 49 people at a gay nightclub in Orlando. Here’s how that attack unfolded.

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The Brass Section Is at the Bar


A recent $1 million renovation at Harry’s included a 36-foot brass-top bar. Credit Stephen Speranza for The New York Times

There was once a chain of New York restaurants called Brass Rail. But at several new restaurants, the richly glowing golden metal is on the surface of the bar, not just the foot rail. Brass is nudging aside zinc, the traditional metal for bar tops. At Legacy Records near Hudson Yards, the main curved bar and a utility bar are both covered in burnished brass. Robert Bohr, an owner, said he wanted it for warmth and for how well it complemented the midcentury style of the restaurant, designed by Ken Fulk. At Harry’s, a venerable steakhouse on Hanover Square that was recently redecorated for about $1 million by Antonio Tadrissi of PDLab in Toronto, the 36-foot bar is covered in brass. “Brass ages beautifully and gracefully, just like Harry,” Mr. Tadrissi said, referring to Harry Poulakakos, the founder of the 46-year-old restaurant that is now owned by his son, Peter Poulakakos. At Brasserie Seoul in Boerum Hill, Brooklyn, brass is the focus on a bar in the center of the room. You’ll also see brass in accents, like the trim throughout the new Simon & the Whale in Gramercy. And it’s not just a New York trend. Henrietta’s at the Dewberry in Charleston, S.C., is another room with brass on the bar.

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Review: In ‘Black Light,’ an Alter Ego Takes Over, and She Is One Diva


Daniel Alexander Jones as the fictional singer Jomama Jones at Joe’s Pub this month. Credit Sara Krulwich/The New York Times

“Would you care to look at me?” Happy to oblige, but then it would be hard not to.

The statuesque performer Jomama Jones was wearing a sleeveless gold sequined number while she formulated that question, which was also a demand. “I give you all permission to take me in,” she continued with the noblesse oblige of an entertainer fully aware of her glamour.

Mind you, that outfit was just one of the five, all equally fabulous, she changed in and out of during her show, “Black Light,” at Joe’s Pub.

Making her way among the tables, the singer gently teased the audience. To the gentlemen who said he was from Mexico, she asked of his country, “Do they have the animal the cougar?”

A grand diva in the lineage of Lola Falana and Diana Ross, Jomama Jones is the alter ego of the playwright and performer Daniel Alexander Jones. She has figured in some of his earlier shows, including “Jomama Jones: Radiate” (2011) and “Duat” (2016), in which Mr. Jones delved more directly into his own life and made the transformation into his character explicit. In “Black Light,” though, Mr. Jones lets Jomama take over.


Paradoxically for a concert, the energy distinctly falls when Jomama sings. Credit Sara Krulwich/The New York Times

Besides ad-libs, she alternates, cabaret-style, between songs and convoluted stories. Her show incorporates biographical elements familiar to longtime fans. When she brought up her “dear, sweet friend and rival Tamika,” savvy members of last Thursday’s audience let out hoots.

Most likely, they were in on the constructed back story, the same way people clap in delight whenever the decrepit chanteuse Kiki DuRane, a creation of Justin Vivian Bond, brings up her estranged son, Bradford. Mr. Jones even lovingly fabricated press coverage for Jomama, including a terrific reproduction of Jet magazine from the mid-1980s.

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John Zorn’s Club the Stone Begins a New Life on the Other Side of Town

But wait. Before we deliver the eulogy, the Stone isn’t closing. It’s only moving. Starting this week, the venue will be headquartered in an elegant “glass box” theater on the ground floor of the New School, a university on the northern rim of Greenwich Village. It will host five concerts a week, with each week serving as a residency for a chosen artist, in accordance with longtime Stone policy.


“We’re moving simply because it was time for a change,” John Zorn said. Credit Nina Westervelt for The New York Times

In Mr. Zorn’s estimation, and that of many others, the move marks a step up. “We’re not moving because of any sinister reason,” he said last week over breakfast at Russ and Daughters Cafe, a short walk from the Stone’s old location. “We’re moving simply because it was time for a change. I went in there one day and I said, ‘You know, I think we can do a little better than this.’”

You can see where he’s coming from: In summers, the old Stone often bore an unnameable smell. And in all seasons, sirens from the avenue tended to smear the sound of the performances. The odorless New School location has a fabulous grand piano and neatly curtained walls.

The Stone has been wetting its feet there by presenting shows Friday and Saturday nights since June, and the few weekends I’ve been to the new space, it has appeared to foster the kind of open exchange that typified most nights on Avenue C. I’ve already heard startlingly successful group improvisations, and first-time bands of unlikely collaborators that gamely fell flat. All of this is as it should be.

But the move does mark a perilous entry into academe, something that Mr. Zorn had long resisted — and something that, more often than not, musicians of his cohort haven’t had the opportunity to resist.

When Mr. Zorn opened the Stone in 2005, he was seeking a respectful home for the ardent, unconditional music that his community of free improvisers had been making since the 1970s. (The music’s roots actually coil back to the 1950s, when free jazz was born and John Cage helped lay some of the groundwork for minimalism).

Most of the venues that welcomed these so-called creative musicians were dive bars and semiofficial studios or living spaces. Most could hardly stay afloat. The ones that could, like the Knitting Factory and Tonic, eventually scaled up, meaning they expected larger crowds that would patronize the bar.

So Mr. Zorn consulted Ela Troyano, a filmmaker who owns the building at Avenue C and East Second Street, and he opened a one-room venue on its ground floor. He paid rent with the revenue from monthly benefit concerts, philanthropic donations and album sales on his Tzadik label.

“To have a space that’s completely run and curated by musicians was unusual,” said the guitarist Mary Halvorson, who moved to New York a few years before the Stone opened, and has played there regularly ever since. “It really gave musicians an opportunity to workshop new material, and also to try out things that they might not try normally,” she added. “You really felt like the audience was there with you.”

Last Thursday, almost a dozen performers, varying widely in age and stature, took turns improvising in groups of two or three or four. Laurie Anderson and Laura Ortman played bright, arcing lines on their violins as the electronic musician Jad Atoui made slow, mushrooming palls underneath. Later, the guitarist Nels Cline and the pianist Sylvie Courvoisier joined Mr. Zorn for a short sortie. It began with a scraping, aggro spill, but then Ms. Couvoirsier started hammering a high note with both hands, at top velocity but medium volume; she was seizing the room’s ears, and thinning out the trio’s sound. Mr. Zorn and Mr. Cline relaxed into a vigilant consensus behind her.

All along, no one in the room spoke a word.


Mr. Zorn performing at one of the final shows at the Stone’s original East Village location. Credit Nina Westervelt for The New York Times

Mr. Zorn feels confident he can carry the same spirit of attentive rapture into the New School. “I prefer staying out of the academy,” he said. “I think there’s something very beneficial about getting together and just playing: doing concerts, organizing it yourself, talking over lunches about music, getting deep into things.”

But he said he was impressed by Richard Kessler, the New School’s executive dean for the performing arts, whom Mr. Zorn had known as a trombonist on the classical and new music scenes in the 1980s.

For his part, Mr. Kessler sees the Stone as an element of a broader effort to upend the way the performing arts are taught. He wants to make the New School a home for the avant-garde, and for the spirit of artistic entrepreneurship that has always gone along with it, without corrupting the source material. The Stone’s house rules — no drinks, largely volunteer staff, all door money to the musicians — will remain in place.

“I think what John and many of his artists do is where I want education to go,” Mr. Kessler said.

Mr. Zorn said Mr. Kessler and the school’s provost, Tim Marshall, made him feel assured that the Stone’s unmediated ethic could survive. When Mr. Zorn rejected a lengthy contract drawn up by the New School’s legal team, Mr. Marshall agreed to effectuate their agreement with just a handshake.

“Pretty cool,” Mr. Zorn said approvingly.

There’s reason to believe that Mr. Zorn’s experiment at the New School will yield fresh results, without annulling its old identity. The Stone is expanding its footprint in other ways. Ms. Halvorson, the guitarist, is scheduled to teach a three-hour Stone Workshop this Wednesday as part of a monthly series of master classes that Mr. Zorn is organizing at the New School. He also recently started curating monthly concerts at Russ and Daughters Cafe and at National Sawdust in Williamsburg, Brooklyn. And he is entertaining the idea of opening another Stone-like venue somewhere else in Lower Manhattan, this time with a bar.

For now, though, his main focus is on the New School. On Sunday night, as the last notes to be played at the old Stone settled into the dust, Mr. Zorn was characteristically succinct. “Say good night to the Stone,” he called out, his alto saxophone resting in his palm. “We’ll be at the New School starting Tuesday.”

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T City Guides: T Fashion Editors’ Guide to Paris



French-Japanese Mashups

“By the time I get to Paris, and have been subsisting entirely on pasta and meat, a light meal at either favorite Japanese restaurant is a must: Takara for nigiri (this isn’t light, but the foie gras sushi is much better than it sounds; 14 Rue Molière) and Kunitoraya (5 Rue Villedo).” — JASON RIDER, senior fashion editor


Frenchie Wine Bar

“A great casual add-on to the restaurant Frenchie, which is a favorite, but always packed.” 5 Rue du Nil — ALEXA BRAZILIAN, fashion features director

Iced Coffee Pit Stops

“I’m that annoying American that asks for an iced coffee no matter where I am or what season it is. In Paris, the best are at Telescope (5 Rue Villedo), The Broken Arm (12 Rue Perrée) and Carette. (Theirs is practically a milkshake but still caffeinated!); 4 Place du Trocadéro.) — J.R.

Lone Palm

“In Paris, you mostly drink at bistros (my favorites are Le Progrès or La Perle) but Lone Palm is a really lovely tiki bar, with wonderfully kitschy interior, stronger-than-they-are-sweet drinks and handsome barmen.” 21 Rue Keller — J.R.

Vivant’s chef Pierre Touitou


“Speaking of handsome staff, the prize goes to Vivant, Pierre Touitou’s restaurant. Definitely get a seat at the bar for the best view. And Da Graziella next door is a Neapolitan-style pizzeria in an old bird shop from the 1920s and it’s so good. Great natural wines at both.” 43 Rue des Petites Écuries — J.R.

Pho Banh Cuon 14

“Because I can never get good Vietnamese in New York, I also rely on Paris for my quarterly pho. Banh Cuon 14 in the 13th has incredibly clear yet bold broth, served alongside the right herbs (a true anomaly).” 129 Avenue de Choisy — J.R.

Dinner in the Eighth Arrondissement

“Between the Grand Palais and my hotel (Le Bristol) lies Jean-George’s Market restaurant for an easy meal (15 Avenue Matignon), or there’s always La Reserve for something even more French (42 Avenue Gabriel).” — PATRICK LI, creative director

Cafe de l’Esplanade

“En route to the Rodin Museum, lunch at Cafe de l’Esplanade is a must for the best upper-crust people watching.” 52 Rue Fabert — P.L.

Bread & Roses

“Before shows in the Luxembourg gardens, I always have a quick meal at Bread & Roses.” 25 Rue Boissy dAnglas — P.L.

From left: Holiday Café; Shang Palace at the Shangri-La Hotel.

Near Trocadéro

“Slightly out of the way from most of the shows, but worth it for a delicious lunch, is Holiday Café (192 Avenue de Versailles). Otherwise, it’s dim sum at the Shangri-La before Miu Miu (10 Avenue dIéna). — P.L.

Ya Lamai

“Near République, you never know who you’ll run into at Rose Chalalai Singh’s casual Thai bistro.” (4 Rue Jean-Pierre Timbaud) — P.L.

Paul Bert flea market.CreditAlastair Miller/Bloomberg via Getty Images

Paul Bert Market

“Visiting the Paris flea markets is essential, because you never know when you might find that dream coffee table — especially when browsing the Paul Bert Market.” 110 Rue des Rosiers — P.L.

Chez George

“A mandatory stop for me, Chez George gives me everything I want from a Paris bistro in terms of ambience — it’s like a long skinny cable car — and classic dishes. The lentil salad is the best.” 1 Rue du Mail — A.B.

Lunch on the run

“For healthy, quick lunch or juice spots, I like Wild & The Moon (55 Rue Charlot), La Guinguette d’Angele (34 Rue Coquillière), Maisie Cafe (32 Rue du Mont Thabor) and Rose Bakery (46 Rue des Martyrs).” — MALINA JOSEPH GILCHRIST, style director, women’s

Le Petit Vendôme

“The best sandwiches in all of Paris are served here.” 8 Rue des Capucines — M.J.G.

Hôtel Ritz Paris

“The Ritz serves an amazing Japanese breakfast, which includes fish, tofu, steamed rice, miso soup and vegetables like marinated cucumbers, turnip and radish.” 15 Place Vendôme — M.J.G.


Maison Bonnet

“I always visit this eyewear resource when I’m in town.” 5 Rue des Petits Champs — P.L.

Comptoir de l’Image

“I also make sure to take time for some book shopping here.” 44 Rue de Sévigné — P.L.

Lindell & Co.

“A very special, tiny shop selling woolen pillows and throws embroidered in zebra and leopard prints by extremely talented artisans from Nepal. It’s run by a wonderful Frenchwoman named Gabrielle Soyer.” 19 rue Chapon — A.B.

Dries Van NotenCreditBenoit Teillet

Dries Van Noten

“Before all brand-name stores were carefully curated, there was this one, in Paris. It’s decorated like someone’s home, which make the clothes feel extra special.” 7 Quai Malaquais — A.B.

Vegetable pastes at Jacques Genin.CreditELIOT BLONDET/AFP/Getty Images

Jacques Genin

“Hands down the best chocolatier in Paris. There are two locations but I always make a stop at the shop on Rue de Turenne. The tiny chocolates are pristinely displayed like beautiful pieces of jewelry, while the nougats, caramels and sugared cubes of pure, concentrated fruit are equally sublime. At this point I have to make a stop here every fashion week — my gift list for family and friends keeps growing!” 133 Rue de Turenne — DAVID FARBER, style director, men’s

Marche aux Puces de Vanves

“Throughout the years, I have always made an effort to head out to the antique/flea market at Clignancourt, but I recently discovered the scaled-down charm of Puces de Vanves. After the madness of back-to-back shows, an early morning Sunday stroll through streets lined with vendors selling antique silverware, vintage books and small objets d’art is the perfect remedy.” 14 Avenue Georges Lafenestre — D.F.

Buttes-Chaumont Park.CreditAlex Créˆtey Systermans for the New York Times


Le Parc des Buttes-Chaumont

“This park is my favorite nearby getaway. It’s the perfect place to hide from fashion people, since it’s relatively far away, in the 19th.” 1 Rue Botzaris — J.R.

Le Bristol


Le Bristol

“One of the last genuine palace hotels in Paris that doesn’t feel too glossed over. If you’re on more of a budget, Hotel du Temps (11 Rue de Montholon) has everything you need, with lots of nice touches and rooms are surprisingly nice and big for Paris.” 112 Rue du Faubourg Saint-Honoré — A.B.

Related: the T Fashion Editors’ Guides to New York, London and Milan


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