Kate Spade New York (Q4596)
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American fashion design house
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Kate Spade New York |
American fashion design house |
Statements
2007
creative director, co-president
It’s a bit boring—and obvious—to say a spring collection is inspired by, well,spring. But Kate Spade’s head of design for leather goods and accessories Jennifer Lyu, as well as head of design for ready-to-wear Tom Mora, insisted they had a hyper-specific seasonal moment in mind: that one April day, after months of winter, when the temperatures reach the mid-60s and New Yorkers make their Persephonic emergence. “You get yourself dressed up, you go outside, you meet up with friends—and you never really look back. You’re not wearing a wool coat. You’re not wearing a puffer. You’re not wearing any more of those winter clothes,” Mora says. “It’s a celebration of that feeling.”This aesthetic inspiration manifested itself in multiple motifs, some immediately apparent and others more understated. Handbags, for example, were accented with sculptural flower handles, whereas clothes came in an optimistic color palette of fresh greens and periwinkles. Yet silhouettes were also subtly slouchy and soft—silk tracksuits, cotton T-shirts, and oversized jackets, pieces meant for a gentle transition from the cozy hibernal clothes one wears in the cold.As a result, Mora’s designs were more tomboyish than in collections past: a shirtdress featured navy-and-white rugby stripes; a color-coordinating pair of trousers came with a drawstring waist. Meanwhile, several models wore either varsity jackets or baseball caps. It was a refreshing departure from the hyper-feminine looks often associated with the brand, which for some can feel borderline twee.However, that’s not to say the disciples of the Blair Waldorf school of dressing will be left wanting. Minidresses in both plaid and pleather came with pearl-embellished Peter Pan collars, and sequins were used liberally on skirts, shorts, and suiting. (“I’m a magpie,” explained Mora.)The duo also re-imagined the “Noel” print, an abstract “KS” monogram first developed by Kate and Andy Spade in 1999, this season. It was used on everything from pants to cardigans, but its purpose was clearest for purses. (Accessories remain the bulk of the brand’s business: in 2022, they accounted for 80 percent of Kate Spade’s $1.4 billion revenue. Tapestry’s CEO toldWall Street Journalin August that one of Kate Spade’s most popular items in 2023 has been a sheepdog shaped crossbody. It’s sold out online, but you can find it on resale websites for $1100—$600 more than its original retail price.
) Lyu studied photos of Noel bags in old Kate Spade catalogs and even ordered archival pieces she found on Poshmark. She and her team then produced several handbags—including one worn at the presentation by Lyu herself—that feature a Noel clasp, a geometric accent distinctive enough to deem it an identifying aesthetic element, yet under-the-radar enough that it will still resonate with theau currantquiet luxury consumers. “We really talked about exercising a certain discipline or restraint and honing in on the key codes,” said Lyu.It was 90 degrees during Kate Spade’s N.Y.F.W presentation, the third day of such sweltering temperatures in the city. While no one wishes for winter, the heat wave—and the collection—led to hopeful thoughts of spring.
8 September 2023
Twenty-seven years ago, Kate Spade never thought her brand would have ready-to-wear. “I don’t think [we’ll] do a full clothing collection, maybe just some fun pieces…darling little jackets, great cardigans,” she toldVoguein 1996. Spade and the women she designed for were the type who could wear the same pants seven days in a row as long as they swapped their earrings, bags, and shoes at will. Accessories, not clothes, served as the backbone of their wardrobe.Three decades and an acquisition by Tapestry later, they still are: Last fiscal year, accessories accounted for a whopping 80 percent of Kate Spade’s $1.4 billion business.So it’s safe to say that Tom Mora, who became head of design for ready-to-wear in September 2022, finds himself in a challenging spot: How do you design clothes for a brand that was never about clothes to begin with?On an unseasonably warm Friday morning in February, Mora and Jennifer Lyu, head of design for leather goods and accessories, gave their best answer.The duo, who design in tandem, presented 14 looks at the Whitney Museum of American Art. While previous collections featured everything from twee lemons to whimsical florals mashed together across all product categories, much of the clothing and accessories seen in the fall 2023 collection was instead presented in a saturated monochrome.Pantsuits came in cherry red or a sequined royal blue. A hot pink knee-length coat had a matching faux-fur trim. One model wore eight slightly different shades of yellow, from the beanie on her head to the bag flap on her arm to the socks on her feet. Mora and Lyu said they found inspiration in the emotional color-field painters like Mark Rothko and Barnett Newman. “The solid-color looks are very new for us,” Mora admitted. “But it feels really right for the zeitgeist.” Right for the brand too: By embracing color-blocking, Lyu’s accessories and Mora’s clothes complemented one another rather than competed. The overall aesthetic was clean, not cluttered.There’s one color in particular they hope catches the consumer’s attention: Kate Spade Green. For the brand’s 30th anniversary this year, they worked with Pantone to develop the signature shade. After spotting it in several archive collections, they settled on one that sits somewhere between Kelly and shamrock. The designers pointed to green’s association with newness and nature. “It’s a joyous color,” Lyu said.
When used on a handbag, it was hard not to think of Bottega Venetta’s explosively popular Bottega Green accessories. Yet a Kate Spade Green bubble dress with a matching puffer did feel youthful and fresh. Was this the “darling little jacket” Spade once envisioned?Mora and Ly took another cue from the color-fieldists and embraced strong geometric shapes in several pieces: It feels more accurate to say a black-and-white skirt was covered in circles rather than dots, whereas pants had a Josef Albers–esque square motif. Semicircles and rectangles graced both a T-shirt and a sequined minidress. On the former, it came across as too youthful; on the latter, excitingly so. Just as Kate Spade Green visually suggests—there was much to be optimistic about here.
10 February 2023
Fashion today is influenced not only by ’90s nostalgia but, as the docuseriesKingdom of Dreamsreminds us, by corporate structures put in place at the end of that decade. In 1997, for example, Marc Jacobs was tapped to develop a ready-to-wear collection for Louis Vuitton, one of the oldest and the most storied leathergoods houses in the world.Many accessories companies followed suit. In 2003 Kate and Andy Spade asked AsFour to create a capsule clothing collection. Now the company offers a wide range of products across many categories and recently appointed design directors Tom Mora and Jennifer Lyu who are faced with the challenge of applying the brand’s distinctive cheery quirkiness to all of them.So far the results have been mixed—but not for lack of care or trying. There are several issues at hand. One is that translating Kate Spade’s signature eccentricity into clothing usually leads to prints. That combined with the brand’s long-established lady-like aesthetic and you start moving into Emilio Pucci/Lilly Pulitzer/Palm Beach territory, which Kate Spade doesn’t “own.” Separately, in this pre-fall collection there were references to other brands, which read like “lite” versions of the originals, and not what a customer comes to Kate Spade for.The most convincing and fresh designs (mostly accessories) were those for which Mora and Lyu doubled-down on Spadeisms. As the company will turn 30 next year, the design directors went back to artist Alexander Girard’s estate, with whom Kate and Andy Spade had once collaborated, for a 2023 remix. An intarsia sweater shining with a Girard sun was a novel Instagram-friendly statement piece. Ditto the dimensional lemon pullover, and the lucky eye beaded T-shirt paired with striped railroad jeans. The reasons for falling in love with an ingenious wicker and rattan lemon-slice bag are many; they are also, aside from a desire to match head-to-toe, probably totally different for falling for a fruit-print dress. “Quirk” doesn’t translate the same way cross-category.I came away from previewing this beach-inspired collection with hope for the future though. Mora and Lyu really have a sense of charming details, that extends from novelty bags, to the addition of pearlized shell-shaped buttons on a shirt, to pendant eye brooches. The really special pieces, the ones you couldn’t find anywhere else, were the collection’s “lemonade.”
7 December 2022
Kate Spade New York was launched in January 1993 as a joint venture between then soon-to-be-married couple Kate and Andy Spade. She was aMademoiselleaccessories editor turned designer; he was a copywriter. Their take on fashion might be called editorial. The label has always had a voice and wink-wink sense of humor coupled with purpose. The rectangular nylon Sam bag that brought the company such renown responded to a gap in the market for something affordable and functional but chic. It wasn’t long before Kate Spade New York became a lifestyle brand known for sophistication, wit, and color.Tapestry acquired the brand in 2017 and days ago revealed the names of its latest creative directors, industry veterans Tom Mora and Jennifer Lyu. The duo staged their debut presentation at 3 World Trade Center, and the magnificent view underlined the label’s association with the city. The set and the collection referenced nature. Surrounded by a verdant “lawn,” models braved a shower that was carefully designed to fall next to—rather than on—them.Color and charm were the takeaways here. Lyu’s children’s bath toy was one of the inspirations for a cloud bag with fringes of rain that couldn’t be more Instagram friendly and was shown with a cardigan jacket and jeans. A lot of attention was paid to details and finishings, and outfits were cleverly conceived. A floral dress, for example, was paired with rain boots in a matching floral.As Kate Spade New York is marking its 30th anniversary, and Mora and Lyu are building on the label’s heritage, it makes sense that there was a retro feeling to the garments. Many 1950s and ’60s silhouettes predominated, adapted for today. This vision of femininity, however pretty, is also saccharine, somewhat stereotypical, and assumes—despite the rainwear—a celebratory and blue-sky attitude, leaving little room for expressing a range of emotions.But for those wishing to escape into an Instagram-perfect world, this collection delivered in spades, as did the designers’ stated framework. “Our favorite adventures come when we least expect them. Like getting caught in the rain. Looked at one way, it’s a mishap. Another, a moment of sky-opening escape,” read the show notes in part. Flexibility and the ability to see things from different perspectives are qualities sorely lacking in the world right now. They are what Kate and Andy Spade brought to the brand decades ago, and Mora and Lyu aim to bring forward today, rain or shine.
9 September 2022
To show or not to show? It’s not a new question, but it’s one that’s being asked more overtly this season as designers factor cost and environmental impact against the ROI of a defile. Having wowed with an outdoor presentation forspringthat celebrated the beauty in diversity and underlined the optimistic vibe of the brand, Kate Spade New York’s creative director Nicola Glass, citing the disruption both in the world and the industry, decided to sit the runway out for fall 2020 in favor of a documentary-like video that provides a backstage view of the look-book shoot. It played in the background at a press presentation, at which clothes were shown on mannequins and ceramic mushrooms were nestled among greens to evoked the enchanted forest Glass had conjured for fall. “For me there’s an element of escapism in it, and going back to nature,” she said. Glass is an able designer with a keen eye for detail, and she incorporated her journey idea into her collection, hiding a psychedelic floral print under a collar, say, so that the customer could be delighted by the unexpected discovery.Spring’s show was an oasis, a refreshing respite from reality; fall’s walk through the forest was more thorny, especially when it came to the psychedelic sub-theme. It’s difficult not to look at mushroom appliques and not think of Julie Verhoeven’s trippy bags for Louis Vuitton. Less literal interpretations on the theme were successful; charming is the word for the new resin-framed, bow-trimmed bags for a night out on the town.Accessories remain the heart of the Kate Spade brand, but Glass believes apparel is “super important to the brand in terms of bringing together a more curated lifestyle.” She sees fabric as the bridge between the bags and the ready-to-wear. “If you go back to the foundation of the brand, whether it was the first bag that Kate made that was in a burlap linen, or the nylon bags,” she said, “textiles are something that are as important as leather for us as a brand.” Be that as it may, some of the clothing fabrics suffered in comparison to the rich-looking, designed-in-Italy, Spade-flower jacquard used on the very attractive and aptly named Major bag.
10 February 2020
The theme ofThe Secret Garden, Frances Hodgson Burnett’s 1911 novel, is rejuvenation, which was one of the undercurrents at Kate Spade New York’s Spring 2020 show presented in Soho’s charming Elizabeth Street Garden. In a collection statement, creative director Nicola Glass wrote of “blossoming wherever you’re planted,” a lovely and hopeful thought at a time when there are few floating around.Glass’s job is, after all, to rejuvenate this well-rooted American brand, which she describes as an “optimistic” one. It’s also a brand that remains associated, to some extent, with its founder, Kate Spade, who died last year. “Walking in this show is kind of a way to honor Kate, to keep her brand alive,” said Debi Mazar pre-show. She stated that she’s a big fan of Glass as well. The actress was one member of a diverse cast of personalities and models. The idea was that the customers would see themselves in the women walking—and perhaps want to see themselves in the clothes as well.An accessory designer first, Glass’s clothing designs, like a fit-and-flare wrap dress or an A-line jumper, are very straightforward and suitable to many women. The predominance of leafy prints and khaki for Spring can be explained by the show’s stated theme, “urban safari.” More appealing (and free from colonial undertones) were crocheted pieces and the recurrent uses of green which tied back to the idyllic setting. Oases like the one on Elizabeth Street are in short supply, and while you can’t carry a garden in your pocket, you sure can grab a wicker bag—or a roomy tote that, noted Glass, functions like a car or an office for the city dweller. It would be irresponsible not to mention the delightful mini “Remedy” number, a doctor’s bag that came in solid colors or covered with spade-patterned crochet, like some of the garments in the show. While fitting in with the house’s playful aesthetic, the elephant-shaped bags call to mind other models on the market. The shoes—like the colorful Dr. Scholl’s with color platforms, and the color-layered platform sandals—like the collection itself, were a shot of sunshine.
7 September 2019
This is a season of many names. Some call it Resort, others Cruise, still more Pre-Spring. At Kate Spade it goes by Holiday, which offers a clue about what to expect. “Our customer is looking for special pieces this time of year,” said designer Nicola Glass at a preview, “things for holiday parties that feel positive, optimistic, fun.”The denim and corduroy of her Fall collection was out, and a black sequin pajama set and emerald silk velvet jumpsuit was in. Mostly, Glass concerned herself with dresses, mini and midi, printed or in subtle jacquards. The highlight was a plissé style in floral printed silver Lurex that looked party-ready and easy to wear at once. For runners-up there was a pink babydoll with a cut-out neckline Glass described as a nod to Biba, and a pale lavender dress with engineered prints of degradé pearls that showcased the range of customers the brand is talking to.Glass, who comes from the world of accessories, is distinguishing herself as a clever outerwear designer. A faux Mongolian in electric lilac looks like a winner, especially considering its affordable price tag, and the natural shearling will attract appreciation even from people who don’t otherwise relate to Kate Spade. On the handbag front, which is an important part of this label’s business, Glass dipped into the archives. Vintage styles inspired the curving lucite handle of a fake-fur tote and the removable floppy silk bow of an evening clutch.
11 June 2019
KiKi Layne, Julia Garner, and Sadie Sink—Kate Spade New York’s Spring campaign stars—sat center stage at today’s show, their combined wattage a signal of the company’s ambitions. Accessories still constitute more than 50 percent of the brand’s business—it was born in the early ’90s with a single nylon box bag—but backstage, creative director Nicola Glass said, “We see ready-to-wear as an opportunity.”Glass’s Fall lineup was certainly no mere canvas for her bags. Not with its vibrant colors, leopard prints, and ’70s silhouettes—shades of Yves Saint Laurent Rive Gauche via Marc Jacobs. With tailoring trending, the highlights of this collection were the ’70s pantsuits in twill or corduroy with their narrow jackets and high-waisted, flared trousers. No surprise, when Glass came out to take her bow, she was wearing the emerald green cords and a silk button-down in the same deep color. Its electric lilac pantsuit cousin might suitThe Deuce’s Candy Merrell, played by Maggie Gyllenhaal, who sat in the audience. The show’s other emphasis was its flirty satin shirtdresses in mini and midi lengths, both styles accessorized with attractive lace-up knee-high boots. Glass also had some fun with denim, color-blocking it on an A-line skirt, a pinafore dress, flares, and two pairs of those lace-up boots.As for the bags, Glass sent many of her models out with two—a reflection, she explained, not of the ’70s, but of the women she sees in New York today, hauling a big tote and a smaller satchel or cross-body. The large totes nodded backward at the original Kate Spade shape from the ’90s. That was a nice, thoughtful touch.
8 February 2019
Kate Spade New York has been reinvigorated. The dresses are more grown up. The accessories feel more elevated. Nicola Glass, who took over as creative director last season—replacing chief creative officer Deborah Lloyd, who left the brand in 2017—has added a layer of polish all around. Take the frocks: The whimsical playfulness that the label is known for is still there, but now it’s less overt. A key style was the floral-print number with ruching down the front that hugged the body ever so slightly.The accessories felt similarly fresh. Glass has had a lot of experience in this area. She worked under Tom Ford during his early years at Gucci, and then as senior vice president of accessories design at Michael Kors for more than a decade. The shapes were clean and structured, as in the Betty, a rounded tote based on an archive piece, with a smart round metal handle. Another standout was a butterscotch hobo bag with a rich brown leather edge.
11 December 2018
The pre-fall season could do with some rebranding. At Kate Spade—and elsewhere—the mood, and the clothes, are all about summer. Or more accurately, sun-chasing escapist dreams of summer. Nicola Glass and team channeled their memories of summers past into colorful clothes that reflected the bright optimism of the season. Kelly green separates, for example, were cut from a tweed woven with micro-sequins that provided unexpected sparkle. The use of crochet was carried over from the spring show and was best used for pull-on color-block dresses. A series of printed pieces had a 1940s flavor that was balanced by the very now textural raffia flatforms they were paired with.“I personally love the texture of it, the crafted nature of it,” says Glass of raffia. She also sees the material relating to the house’s “deep heritage” of making wicker bags. There were two of these for the new season, a canister and a mini picnic basket, the latter a redesign of an archival piece. Both were decorated with cherry-shaped baubles. Other “healthy” options included charming fruit jewelry, like an orange-slice ring and fruit-shaped bags, such as a molded apple purse with a leaf-shaped zipper pull and its own friendly metal worm. Should an apple not keep the doctor at bay, there were also myriad versions of the brand’s Remedy purse (in the shape of a mini doctor’s bag).Glass, it should be noted, is keeping the brand hale with happiness-inducing accessible fashions. You won’t find directional looks here; her focus is on designing pieces that appeal to—and fit—women of all shapes and sizes. But come to think of it, that’s needle-moving in its own way.
11 December 2019
The atmosphere at the first-ever Kate Spade New York runway show was buzzy and optimistic. Spring 2019 is the first collection by the new creative director Nicola Glass since the brand’s founder Kate Spade passed away this past June. Her death,an apparent suicide, shocked the industry: The creator of the now-billion-dollar company was often described as bubbly,even as “human Champagne.”(Spade left her namesake brand in 2007; between 2007 and 2017, Kate Spade New York was headed by former chief creative officer Deborah Lloyd.)Glass was careful to keep Spade’s spirit present even before her tragic passing. She is detail-oriented and her accessories résumé is long: She worked at Gucci under Tom Ford and later at Michael Kors as the senior vice president of accessories design. When Glass joined the brand in January, she looked to its archive for inspiration. “There was a purity to their [Kate and Andy Spade’s] design approach that really appealed to me,” Glass said before the show. Here, she reworked classics like the label’s ubiquitous spade symbol, artfully hiding it in prints and intarsias. She highlighted the importance of movement to the clothes. Standouts included a pale lavender dress with asymmetrical buttons cutting across the chest and a yellow frock boasting a matchstick print, complete with a matchstick zipper.The handbags recollected the straightforward carryalls from the formative years of Kate Spade New York. One came in a bubblegum pink with a thoughtful spade twist-lock the size of a palm. Another artful way that showed Glass’s attention to detail was a basket bag that was created from stacked spades. Outside of the clothing, a sweet nod to the house founder came in a thin trail of never-ending glitter that looped in between the circular islands where guests sat. It was an ode to a quote about Spade that was also printed on seat cards that read: “She left a little sparkle everywhere she went.” (The back of the cards read: “In Loving Memory 1962–2018.”) Along with the collection, this was a heartfelt tribute that signified promising new beginnings for the label while holding true to its vibrant roots.
7 September 2018
For today’s Kate Spade Fall presentation, the second floor of New York’s Masonic Hall was transformed into a bustling, country music–rich setting reminiscent of Nashville, Tennessee. It was the last collection from Deborah Lloyd, who, in November 2017, stepped down as the brand’s creative director, a position she held for 10 years. (Nicola Glass, the former senior vice president of accessories design at Michael Kors, will be responsible for next season.) While Lloyd’s meticulously cute touch was present, translated through embroidery and embellishments, the collection generally appeared more pared-back than usual. That’s not a bad thing. A distressed patchwork denim coat with a pert Peter Pan color was both natty and fun. Those very literal, humor-tinged looks that Lloyd is great at were there, such as a calfskin fur coat in a cow-spot print, boasting cropped, kicky sleeves. (It was luxurious, but the concept could be off-putting for animal lovers.) A standout was one of the simpler pieces, a gray wool turtleneck that abstractly illustrated galloping horses, with sections shaved down in certain areas for a trompe l’oeil effect.A menswear influence was here, too, but it was cut with some sweet additions. Underneath a pin-striped cropped pant and a matching tailored jacket was a pretty white shirt with a neck ruffle—perfect for breaking up the boyish sharpness of the set. A tailored coat had that Kate Spade flair thanks to lapels prettily embroidered with white flowers. What was missing? Lloyd’s clever, double-take accessories, complete with double meanings, that have become synonymous with Kate Spade over the last decade. Now, let’s see how Glass will approach that particular facet of the company.
9 February 2018
Kate Spade New York’s 25th anniversary collection had all of the label’s signatures: prim and proper dresses and entertaining accessories. (Creative director Deborah Lloyd also nailed the label’s knack for showing in an immersive setting, and chose to present at the Grand Central Oyster Bar, opening with a marching band. It was an ode to New Orleans.) There were the expected staples, like a pretty black, high-collared lace frock that was embroidered with something cutesy (butterflies), a flouncy top in a classic print (soft gingham), and a strapless cocktail dress with embroidery (floral). Of course, there was the cheeky, fun bag, too, which came in the form of a wicker picnic basket.But basics weren’t the most interesting part of the collection. After all, the dresses and cheerful carryalls will always be hot sellers, so it’s nice to see how Lloyd shakes up the label every season. This time she made it a point to loosen up the clothes by infusing a sporty element, citing the relaxed New Orleans. “To celebrate, we are taking a joyous trip around America, and we are starting by heading to New Orleans for a little southern charm,” Lloyd said of the inspiration. Pieces like a black track-jacket turtleneck underneath a natty blazer nicely broke up the saccharine floral-print dresses. Sometimes, the look was a bit out of place, like a white baseball cap, but the more subtle inclusion of athletic pieces, including a white hoodie under a polished black leather jacket, appeared natural and chic. When done right, “cutting the sweet,” a phrase that Lloyd has used in the past, is something that looks great at Kate Spade New York.
8 September 2017
Kate Spade New York made the news recently when Coach announced that it was buying the brand in a $2.4 billion deal. If there were concerns from Kate Spade fans that Coach would involve itself in the creative direction of the company, Coach chief executive Victor Luis reassured that Kate Spade would remain an independent brand.The label stayed true to its signature quirky sense of prim for Resort. There was the expected, standard fit-and-flare dress, this time with a polka-dot print, and a charming tweed tea dress. But the collection wasn’t without a welcome edge, see the silver lamé skirt and top set. “It was about the night sky,” said Deborah Lloyd, chief creative officer, at the label’s presentation. “I love a silvery moon.” As for those accessories that Kate Spade customers love? Bags and shoes were cleverly cartoonish: One top-handle bag had a face boasting a retro car and on the strap, a dice key chain. On the more simple side, there was a pair of slides rendered in denim both pared-back and cool. The cashmere sweaters were the most standout pieces of the collection. One cream sweater had a cool Americana vibe with a big blue star on the front and gold buttons on one shoulder.
14 June 2017
ThoughKate Spade New Yorkchief creative officer Deborah Lloyd stated that she was “feeling the color red” this morning at the Fall 2017 presentation, a showgoer couldn’t fail to notice that detail for themselves. The setting was the second floor of the opulent, red lacquered Russian Tea Room. The bold atmosphere circled back to the devil-may-care attitudes of women in Paris during the 1920s. Of the three women Lloyd cited, including iconic flapper Louise Brooks and entertainer Josephine Baker, perhaps the key one was the red-hatted subject of the paintingLe Coquelicot(“poppy” in French) by artist Kees Van Dongen. Lloyd imagined the unknown character to be a Russian émigré who took her motherland pieces with her to Paris.Focusing on that Eastern European flair, Kate Spade signature florals were done in Slavic style, à la RussianKhokhloma, and were prettily embroidered down a red cape and along the edges of a black coat, or delicately dotted a high-collared lace dress. Lloyd has been using more folk references in her recent collections. (On the third floor, she showed the Morocco-themed collection fromSpring 2017.) Applying these far-flung, often bohemian-associated motifs is refreshingly shaking up the prim uptown reputation of the Kate Spade brand.Another wildcard shake-up was the use of leopard print, which was inspired by Josephine Baker’s pet cheetah, Chiquita. (In times of an uncertain political climate, big-cat prints evoke a sort of no-fail primal, “attack” attitude.) Tamer customers could add a tiny bite to their look thanks to a leopard-print fur collar on a black coat. For those who dare, however, a puffer coat in full leopard print would be a strong “I am woman, hear me roar” choice.
10 February 2017
“It’s more like high summer than Pre-Fall,” said Kate Spade New York chief creative officer Deborah Lloyd as she walked through the brand’s midtown headquarters. Filled with juicy shades of tangerine and magenta, Kate Spade New York’s transitional wares did evoke the festiveness of warm-weather days, namely those spent in the idyllic atmosphere of Mexico City. Citing a recent trip through Frida Kahlo’s gardens as a source of inspiration, Lloyd delivered her spin on Mexican textiles. Otomi embroidery, the bold patterns of serape shawls, and huipils were all nodded to respectfully. Like Spring’s jaunt to Marrakech, the Spade version of Mexico is a kind of mélange; the floral needlework central to so much of traditional Mexican fabric mixed surprisingly well with Breton stripes on a relaxed shirtdress.Addressing humorous south-of-the-border imagery via cheeky accessories—mariachi sombrero purses, taco bag clutches, and cacti-adorned totes—led to an exploration of kitsch. Though the line between cultural appropriation and appreciation is a thin one, Lloyd and her team tread it carefully. While many brands have thrown themselves into embellishment of late, few would deliver a porcupine minaudière or hot-sauce packet iPhone cases with such glee. Though comparisons to the Gucci look are inevitable—you can’t do a backless loafer these days without them—the Mexican motif running through every piece prevented repetition.Even with its international influences, the clothing stayed true to the tenets of the Kate Spade New York style. Flirtatious dresses that go from day to night, vibrant separates with playful prints, and the occasional denim jumpsuit provided a complete wardrobe for a girl on the go. Knowing your customer is a virtue, but with hummingbird-covered sheer gowns and pink and white embroidered cocktail dresses from the label’s upscale Madison Avenue line offering a taste of luxury, there were even moments for those outside the core audience.
7 December 2016
Kate Spadeis a quintessential New York label, so it made sense that its Spring show was held on the rooftop of one of the city’s most well-known hotels, The NoMad. The show itself, however, complete with traditional Andalusian music and a backdrop of Moorish arches, was anything but metropolitan, and instead every bit Morocco-inspired. The presentation was theatrical, with pauses for belly dancers and waiters in white serving tea, but the clothes needed no ceremony: They were good. The regional influence was tastefully pared back in the clothing, loosening the preppy hold on this classically uptown label. Take the florals—they were less busy this time. Blossoms were painted on a denim jacket and cropped flares for a jolt of downtown cool. Kate Spade’s signature collared shirt was still tightly buttoned at the throat, but seemed lighter and more playful thanks to the embroidered flowers on the chest.The primness of the collection was also tamed by the airy silhouettes. Dresses were unstuffy with a more bohemian feel than usual. The cocktail attire had some standout pieces, like a shiftdress completely covered in tiers of embellishment.Per Kate Spade tradition, everything received the Marrakech makeover, down to the accessories and footwear. The bags, though sometimes cartoonish (one straw number came in a camel shape), were still fun. The block-heel leather sandals adorned with tassels were less cheeky souk and more city slicker, and will most likely be a staple in the closet of well-heeled New Yorkers come spring.
9 September 2016
No matter the season, Kate Spade New York’s chief creative officer, Deborah Lloyd, doesn’t stray too much from easy-sell classics synonymous with the label. Pert and prim uptown-y cocktail shift dresses were adorned with bows and ruffles, while there was also a funkier disco theme, which resulted in metallic dot patterns on wraparound dresses and slinky suits. Separates with a less formal vibe were refreshing, like a leather A-line miniskirt with a scalloped hem or a blazer with pointed lapels, both of which could easily be worn from day to night.It was the brand’s powerhouse selection of accessories, though just as cheeky and animated as it typically is, that came with the most clever additions: Lloyd is taking the idea of monogramming to the next level, and for the first time Kate Spade New York is introducing an array of personalization options like leather and metal stickers for bags and phone cases to spell out phrases or names, as well as customizable tassels. “People are sick of logos!,” said Lloyd. “They want their own logos.” The idea may soon be applied to KS’s lower-priced Broome Street line as well.Speaking of the Broome Street collection, there seems to be more experimentation within the off-duty diffusion line. One of the standouts was a fun riff on the omnipresent hoodie, which was rendered in a striped pattern with a slight peplum. It was a surprising take on the sporty item, but still retained the Kate Spade New York look with its ladylike signature trims and silhouette—a look that we hope to see more of in the future.
8 June 2016
There was plenty of musical energy at theKate Spade New Yorkpresentation today, which took place at the famed Rainbow Room in the heart of New York City. This season, creative director Deborah Lloyd took cues from ballet and jazz singers, with models standing on a circular, rotating stage. The expected Kate Spade classics were present and correct, especially when it came to the application of florals. There were also petal-dotted baby doll dresses that added movement when worn over collared shirts, and a retro, pink-and-red-hued bloom-print blouse that was coolly complemented by a contrasting black ascot. A ballerina reference came through well in a Ballets Russes style, complete with black lace–embellished Victorian-collared blouses and a fur kubanka.The less print-forward pieces were refreshing. Simple, feminine riffs on wardrobe basics like a red blouse were elevated by triple-tiered sleeves, and high-waisted wide-leg pleated trousers nicely cinched the body. Timeless and ladylike herringbone coats in grey and green received a pop of color and a dose of variety with sprucely fur collars. There was even a moment when florals were used unexpectedly: A pair of kicky boots covered in rose floral print with a bow at the toe, styled with cropped flares, a marinière top, and a leather bomber added a totally different, even punkish, attitude to the collection. It was a welcome change, though it will still keep loyal customers happy.
12 February 2016
It shouldn’t come as a surprise thatKate Spade New York, known for its vigorous brand of sensible accessories and pert, pretty looks, approachesPre-Fallwith a point of view that’s both peppy and realistic. “We design and we deliver to our girl for the time of year, and what she really wants to wear then,” said creative director Deborah Lloyd in what is becoming a bit of a refrain in regard to the transitional season. “It is so funny with womenswear today; there will be a fur coat [during Pre-Fall] that you wouldn’t think about delivering during summer,” added Lloyd. And true to form, nary a fur coat was in her lineup. Rather, for the start of summer, there was a jet-set vibe—the point fully brought home by a black-and-white floral-pattern jumpsuit complete with a matching suitcase. The rest of the collection skewed from bohemian (courtesy of a red petal–patterned peasant top and frock) to polished (a gingham dress cinched at the waist, or a fit-and-flare cocktail-ready dress dotted with watercolor-blotted blooms). All the pieces were poised for the warmer months and beyond.There were also some refreshingly unexpected hits, such as a black dress with lace across the bust à la Stevie Nicks circa “Gypsy.” From Broome Street, Kate Spade New York’s more accessibly priced line (shown together with Madison Avenue, the line’s higher price point), there was a collaboration with Raleigh jeans that included a structured, straight-leg pair with oversize, shin-skimming cuffs, as well as a cropped wide-leg painter jean. The true wild card was a black leather biker jacket, which, as Lloyd noted, “cut the sweetness of a lot of the things we do” by adding just the right amount of cool-girl edge.
1 December 2015
Outside theKate Spade New Yorkpresentation, a balmy scent of flowers seemed to douse the surrounding sidewalks: Chief creative officerDeborah Lloydhad partnered with the floral company FTD, placing almost 30,000 flowers in the space. "After a harsh winter, when that first day of spring breaks, how relieved we all are to buy our first flowers at the bodega,” she said of the inspiration. And that feeling was evident in the clothes: Flowers were everywhere, mostly in patterns. There were florets in grayscale shades splattered onto an A-line skirt, and in abstract black and white on a shift dress; delicate daisies dotted a slouchy jumpsuit.But it was the more pared-back use of floral prints—and springtime colors—that hit home. The subtle outline of blossoms was charmingly laser-cut onto the hem and neckline of a daffodil yellow fit-and-flare frock, and the same pattern was smartly infused into a polished skirt set. Reminiscent of a stylish stroll to the corner store, there was a charming white sequin shift dress, striped in candied tones of pastel rose, sunflower, royal blue, and apricot. But the real winner? A black strapless cocktail dress covered in petal appliqués was the freshest and most perennial piece.
11 September 2015
Kate Spade New York chief creative officer Deborah Lloyd was thinking about Roald Dahl this season—Tales of the Unexpected,Fantastic Mr. Fox,Charlie and the Chocolate Factory… "Magical stories," she said at the presentation. Lloyd enlisted the illustrator Mike McConnell to sketch little vignettes on the curved walls of a set made to look like a hotel bar. (No complaints, but it was hard not to think of Bemelmans Bar at the Carlyle hotel, its own walls covered in illustrations byMadelineauthor Ludwig Bemelmans.)Lloyd always keeps the clothes "whimsical and fun," as she says, but this season's inspiration meant a slightly dialed-down kitsch factor. There was still a good time to be had, though. Alongside the sensible plaid jackets, skirts, and clean top-handle bags were plenty of faux-fur accents and chunky, crystal-encrusted loafers. (The fox, inspired by Dahl, had its moment, too, on an illustrated dress and a cute clutch.) Cocktail attire included a strapless pink brocade number tied up with a bow in the back, and a navy one with a bow in the front. Was it all as whimsical and fun as Lloyd hoped? Sure, but it was also more straightforward than her typical fare. Which was welcome, since a little magic goes a long way.
13 February 2015
The scent of cut grass—squares of which had been laid out on the floor of a Chelsea gallery space—signaled that it was back to nature for Kate Spade New York. "We wanted to celebrate those moments when it's time to put down the phone," said chief creative officer Deborah Lloyd at the presentation. In the past year, she has traveled so much for work that the only option was to think about things one does outside of the office, like swimming, lounging, and just being. (Also known as vacation.)The emphasis on leisure called for more relaxed silhouettes—and flats, lots of flats. Crisscross sandals and PVC visors were paired with mod tennis dresses, and wide-cut shorts were worn with boxy jackets. A sweatshirt and miniskirt were printed with a reflective pool motif, and a short-but-wide-sleeved ringer mini was done in a blown-out floral print with an electric blue background. While most of the looks stood further away from the body than usual, there were some waisted styles for the customer who wants that ladylike look. For instance, a white eyelet shirtdress hit the brand's classic-but-just-a-little-quirky sweet spot, especially when it was paired with the funniest little snail clutch. Indeed, the novelty bags—which also included an azure-eyed crab made of wicker—were really good this time. It seems that learning to relax a little was a smart move for both Lloyd and the Kate Spade customer.
5 September 2014
There are big corporate changes happening at Kate Spade New York. Once part of a stable of brands most recently operated under the moniker Fifth & Pacific, it was announced last month that F&P would sell off what remained of the other properties and change its name to Kate Spade.That means creative director Deborah Lloyd, who has grown KSNY from a niche label of well-made box bags into a retro-minded lifestyle brand that includes a ready-to-wear line, tech gear, housewares, and a flourishing fragrance program, is in the hot seat. But if there's added pressure, Lloyd wasn't showing it. Instead, she presented a collection that stayed true to the brand she's created, nudging it ahead ever so slightly."I travel so much, but even when it's for work, I really try to enjoy the places I'm visiting," Lloyd said as an introduction to Fall. This past year has included many trips to Asia, particularly Shanghai and Tokyo, and she was thinking about the bullet trains that connect Japan's cities. "I like the juxtaposition of the old-world quality of riding in a train car with the fact that it can get you somewhere in an hour or so," she said.The Tokyo vignette was the purest representation of what Kate Spade New York has become: all color and mod, graphic elements. A bright floral strapless cocktail dress in an A-line seamed shape got a party-girl upgrade with a jazzy black bow at the bust. Other models were covered up in vibrantly hued topper coats. A cobalt blue, rounded-shoulder version was worn with a pair of Kelly green trousers and high, pointy white pumps.In Shanghai, the look was more subdued—a camel "teddy bear" skirt with a flat bow at the waist read unexpectedly elegant, as did a pair of cropped pink slacks. Lloyd incorporated Chinese red into a few looks, the most notable being a collared cape coat, blouse, leather gloves, and trousers, paired with leopard loafers. The last group was inspired by elegant travel attire, so it made sense to see that a pair of black silk pajamas was topped with a feather chubby.In all, the silhouette was more relaxed than is typical with KSNY. The backlash to all things twee is underway, and Lloyd seems to understand that, without feeling obliged to abandon the vintage-inspired codes she has worked hard to create. "The goal is to move our girl forward," she said. Just not too far.
6 February 2014
Like many designers, Kate Spade New York chief creative officer Deborah Lloyd is often inspired by her travels. For Spring, it was a visit to the gardens of Giverny, re-created in a Chelsea gallery space for today's presentation. That reference point turned into a collection that took the audience on an old-fashioned European tour.After leaving nearby Paris—its wrought-iron gates represented in a charming black and white print on a tea dress, as well as a peplum—it was off to the races. In Monaco, to be exact, where Lloyds husband, who rallies vintage cars in his spare time, hopes to compete next year. There, the KSNY girl wears a navy blue skater dress with a halter neckline—a thick white zipper up the front giving it a sporty feel—and carries a racing flag-inspired checkerboard box clutch. Next, Lloyd's muse headed to Capri, where limone-printed circle skirts and matching bags were the order of the day.Per usual, the collection had an early-sixties feel about it. But what was different was the subtle restraint. The KSNY presentation can verge on the chaotic, with too many quirky novelty items popping up. But this season, Lloyd's careful theme meant a flourish here and there. As it should be.
5 September 2013
It was all about the eighties at Kate Spade New York's Fall 2013 presentation. Blondie blasted in the background, hot pink ruled, and old-school taxicabs served as props. It looked like a set forSex and the CityrebootThe Carrie Diaries, which takes place in 1984.If that all sounds a bit tacky, well, it was. Irreverent would be a nicer way to put it. But in its 20th year, Kate Spade New York could give two hoots what its critics think. Because its customer is more than satisfied.Sold to Liz Claiborne Inc. in 2006, Kate Spade New York is now the most successful brand in renamed company Fifth and Pacific's stable, which also includes Juicy Couture and Lucky Brand jeans. The reason for that is creative director Deborah Lloyd, who began designing for the company after its eponymous founder departed. Lloyd took the company's original DNA—fashion with a quirk—and spun it into a full-blown world of glamour with a sense of humor.This season's girl wears poufy minis in lipstick prints and carries a yellow clutch emblazoned with the word "TAXI," an ideal tool for hailing a cab. She might also try a pair of tuxedo-inspired pumps on for size, if she's adventurous enough. There are also taxi-inspired heels, sparkly lip sunglasses, and a sweatshirt featuring a sprinkle donut.Lloyd's instincts have served the brand well. "My eyes are constantly open," she says. For a certain kind of girl, Lloyd is a barometer of what's cuteandfun. And while that might not be the height of fashion, it is a convincing point of view.
7 February 2013
Bright colors like shocking pink, pool blue, and sunshine yellow and cheeky accessories, including a clutch shaped like a giant pair of sunglasses, were the big messages at Kate Spade New York for Spring. The models' manicures even matched their gingham separates. We're not against having fun with fashion, but heavy-handed styling that paired a sleeveless pink dress with pink polka-dot tights and pink flower-print shoes was too cutesy for its own good. Casual looks like a miniskirt/T-shirt/cardigan combo were the best things about this collection.
13 September 2012