Are You Ready for Drive-Thru Botox? 注射肉毒桿菌素變平易近人 像在沙龍吹頭髮
There’s nothing secretive about getting Botox and fillers at Ject in the West Village.
The 3-month-old injectable beauty bar has a glass front with its name hand-painted in 23-karat gold. Treatment spaces are separated only by curtains. There’s a photo booth, with a swirly gold, black and green mural that incorporates the company name, for customers who want to show off their freshly filled faces on social media. As the company recently Instagrammed: “Adieu, Taboo.”
In 2018, injections of Botox — the No. 1 aesthetic procedure since 1999, according to according to the American Society of Aesthetic Plastic Surgery — were up 16.3% from the year before. Fillers were up 12% in the same time frame. Both procedures require regular top-ups.
With that popularity comes, almost inevitably, a wave of places that specialize in these injections, aiming to make them as accessible (walk-ins welcome!), acceptable and fun (in name, if not in needle) as a Drybar blow-dry.
“Injectables don’t need to be scary, and they don’t need to be done in a secret garage,” said Gabrielle Garritano, a physician assistant and a founder of Ject. The curtains, she said, were a choice, to make the place feel more salon, less medical office — and so clients may see others getting injected.
“You see people getting their hair blown out,” she said, as if the two are equivalent.
Ject — the short name was chosen, in part, so it would look better on the forthcoming booking app — has plenty of competition. At Plump, in Chelsea, which is designed to look like a bistro, with dark wood floors, bar stools and a tea bar (serving anti-inflammatory elixirs), patrons can choose the $1,099 “Instaready Cheeks” or $240 “Goodbye Gummy Smile.”
Alchemy 43, which has four cucumber-and-lime-scented locations in Los Angeles, opened in the Flatiron neighborhood on April 24. The company, which says it has raised more than $5 million in funding, including from the Drybar founders, provides clients with fruit-garnished sparkling water in Champagne flutes (preprocedure alcohol is not recommended), and has a granite tabletop co-working space in the lounge. (À la Drybar, Alchemy also offers memberships.)
And BotoxLabb (the double Bs stand for “beauty bar”), a sea-foam-green-bathed chain based in Miami from the founders of the 1990s makeup brand Joey New York, is eyeing New York after introducing sea foam green outposts in Scottsdale, Arizona, and Los Angeles.
The company says that most of its clients are younger than 35, and many say they like the atmosphere of these places, and the focus on injectables.
Opera Houses Find More Ways to Meet Fans Where They Are 歌劇院找到更多方法貼近粉絲
Since the Metropolitan Opera began broadcasting live to movie theaters, in 2006, companies from the Bolshoi to the Komische Oper Berlin have seen digital distribution as crucial to positioning themselves internationally.
Only a handful of players have the standing and resources to create for cinema, and many organizations in Europe turn to free web streaming, but never before have opera houses had such freedom to produce their own content.
The Met broadcasts to cinemas in 70 countries. The Royal Opera House in London relays to cinemas in 51 countries, while the Paris Opera is present in movie theaters in 18 countries. The Staatsoper Unter den Linden in Berlin recently transmitted a production of Verdi’s “Macbeth” to French cinemas and plans a live broadcast of one production next season (in 2018, the house also began streaming on its own website and in collaboration with broadcasting partners).
Institutions from the Glyndebourne Festival to the Salzburg Festival have partnerships with the online platform medici.tv, which in 2018 celebrated its 10th anniversary and has about 280,000 registered users. Stingray Classica officially starts within the network of Amazon Prime Video in June, featuring such organizations as the Teatro Real in Madrid and the Royal Opera House, while Opera Vision offers free streams from more than 20 houses across Europe.
The flood of offerings is a result of reduced coverage on public television, an unstable recording industry and the low cost of producing for the web. While a cinema broadcast involves video methods that are more sophisticated than even those of television, a typical stream can be executed with about a third of production costs.
“Streaming is really about access and visibility,” said Peter Maniura, project director, classical archive and orchestras digital strategy, at BBC Music. “The vast majority of organizations” have not tried to monetize their product, he said, “for the simple reason that there are very few with sufficient scale and impact to actually be able to make money.”
He distinguished between a “tradition which the Met started for high-quality cinema experience” and the “public service space” — which was traditionally in television and has now in part migrated to the internet — where viewers expect to have free content. “The major players have been in a position for a number of years,” said Maniura, citing as examples the Met, the Royal Opera or La Scala in Milan. “It’s hard for a midscale house to match that.”