Kenneth Cole New York (Q4922)
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Kenneth Cole New York is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Kenneth Cole New York |
Kenneth Cole New York is a fashion house from FMD. |
Statements
Kenneth Cole has the formula down pat now. He introduced his fall collection for men and women with a few celluloid spoofs that mildly nibbled at the fashion-industry hand that feeds him. But he was taking no such risks with his menswear, which this season walked a rigorously classic line. A thin gray line, in fact (though he labeled it charcoal, cement, or zinc).For Cole, it was the season of the coat. "Indoors, outdoors, day, evening—coat-dressing is important in sportswear," he said after his show, as he fielded congratulations from Carrie Underwood and Carson Kressley. Said item meant business as a dark wool topcoat. Other variations: rabbit-collared in oiled cotton, military-styled in black alpaca, and knee-length in shearling. Underneath was a collection of sober tailoring in charcoal worsted or cement flannel, a distinct move away from the fashionably shrunken proportions Cole explored for spring. Wearability, he's clearly decided, is the name of his game. As for the footwear on which he built his business, Cole was endorsing the boot to go with the coat.
5 February 2006
More industry spoof than social commentary, the video Kenneth Cole screened before his Friday morning show addressed such mock-serious issues as the dangers of air kissing, the overuse of the fashion business' favorite colloquialism, "fabulous," and obsessive catwalking. It got some giggles, thanks in part to the archly somber soundtrack, but in the end, we'd have to say that as a comedian, Cole makes a great fund-raiser. (He was one of several designers who played a major part in last fall's Seventh on Sale AIDS charity event.)Once the show proper got underway, though, Cole mostly stuck to what he does best: translating the prevailing moods for the aspirational masses. For fall, that means a slim silhouette of cropped jackets topping tweedy pencil skirts or lean double-breasted blazers and safari jackets over high-waist trousers. The most desirable sweater was a belted cable-knit cardigan. Suit-dressing may have been embraced by the fashion-forward crowd, but Cole's customers still love a dress, and this season, like last, he whipped up a group of blousy silk chiffon numbers. Despite their Crayola colors, they will be easier to wear than the models-only, drapey silk jersey styles in shades of gray that closed the show. More forgiving were a pair of sashed velvet wrap dresses. The latter came in a peat green that matched one of the collection's highlights, a full-skirt trench that would be a bargain at any price.
2 February 2006
The large red cross on Kenneth Cole's T-shirt made it clear that he's a man with a hearty appetite for worthy causes. And his spring presentation was an equally unmistakable reminder of his penchant for dreadful puns: the invitation was a brown paper bag printed with the message "Practice safe sacks." What's more, Cole's message to the beleaguered survivors of Hurricane Katrina, flashed on-screen at the end of his opening video, was "We Stand Bayou."Of course, it was coincidence that much of this collection suggested a languid life in steamy climes, but some in the audience couldn't help but reflect on the irony of the trousers ending above the ankle, also known as "floods." In fact, these highlighted the idea of abbreviation that was the essence of the show—or at least of the first section. Cole offered a jacket and shorts in taupe linen and flat-fronted linen trousers cut narrow enough for drainpipes. Jackets were shrunken, including a cropped, collarless leather number that cleaved to the torso. The croc lace-ups, worn sockless, underscored the pared-down vibe.Then, in a schizo mood shift, Cole upped the volume, showing full, cuffed trousers with deep pleats—very much the male equivalent of the Dietrich-esque pants sported by his female models. The sensuous, earthy tones and midnight blues of the earlier outfits were replaced by a gray the designer called "smoke," which was airily appropriate for clothes this easeful: the sleeves of one voluminous shirt were caught up with tabs, and the formality of a suit was undercut by croc flip-flops.
8 September 2005
The consciousness-raising videos that precede every Kenneth Cole show are not known for their subtlety. And considering that the toll of Hurricane Katrina on the Gulf Coast is still being assessed, Cole had particularly potent material this season. While his recruits Whoopi Goldberg and the FVU (Fashion Victims Unit) laid the message on extra-thick, the designer's passion for helping survivors by donating to the Red Cross came through loud and clear.Just like his film, Cole's presentation could have done with a firm edit—fewer looks, at a faster pace, would have got his fashion message across more efficiently. He kicked things off with a great pair of full trousers, topped with a high waist and wide belt that reappeared on pencil skirts, knee-length pants, and blouson shorts. Elsewhere, he riffed on American classics: cropping a leather trench above the hips, adding a playful ruffle to a wrap dress, and cutting a jacket in a utilitarian paper-nylon material that shined like taffeta. No-frills jersey was pleated and smocked into tops as comfy as an old T-shirt, but still plenty chic. As for the crinkled-chiffon dresses worn with ballet flats that closed the show, they came in colors luscious enough to make his customers forget entirely about last season's triumphant return of basic, head-to-toe black.
8 September 2005
Kenneth Cole invariably screens some preshow movie that's part social commentary, part industry spoof, and which draws on both Cole's admirable commitment to charity and his ability to come up with questionable puns. This time round, the designer's guest star was comedian-actor Mario Cantone. And at the risk of ending up as a bitchy throwaway line in Cantone's next one-man show, he would have been better off toning down the acerbic wit and sticking to Cole's message about providing for the homeless.But what was the message when it came to dressing for fall 2005? Cole has always had an ability to accurately sense which way the wind is blowing and to translate that into affordable offerings that are relatively easy on the eye. This season, that meant shrunken jackets, lean bombers, and tulip-shaped skirts. Yet there were hints that Cole might also have more-sophisticated ambitions for his womenswear. This was especially evident in the accessories—in particular, a pale, bleached gray crocodile studded hobo bag—and with the evening dresses that closed the show. An homage to Halston (not to mention Calvin Klein), they were minimal Empire-line gowns rendered in billowing wool jersey and in shades of petrol blue, cranberry, and dark brown, the collection's main color palette. Not a bad place to start if you're looking to replenish your fall wardrobe.
3 February 2005
Kenneth Cole's show opened with a short film detailing the conversion of comedian Mario Cantone from a snooty fashionista to a caring, sharing supporter of all the social causes endorsed by the designer. But the guest star who really had the audience on its hind legs was a sprightly Harry Belafonte, with whom Cole has worked on age-related initiatives. In an elongated black leather jacket, the calypso king made an argument for Cole as a designer for every age of man. From the first suit, a three-piece in a lightweight felt, to the last, a two-button twill, there was an element of formality to the collection that seemed to be appealing to the more mature gentleman—an impression that was amplified by the croc loafers. The boots, on the other hand, in a leather described as "scorched," had a worn look that complemented the weight of wool jackets with welted seams or leather jackets that had been "tumbled" for effect. The color palette of black, bone, plum, petrol, and a blue-green that bordered on teal made for striking combinations—especially when used in a tone-on-tone extravaganza of plum three-piece, shirt, and tie, with a big reversible nylon coat, also in plum, thrown over the lot.
3 February 2005
Unlike most designers, who go into neutral on any topic other than fashion, Kenneth Cole's political views are at the heart of his company—in his ads, his marketing, even at his runway shows, where he starts every presentation with a short film full of tongue-in-cheek social commentary.Would that Cole had as strong a point of view when it comes to fashion. His spring collection was made up of clean, straightforward, but essentially anonymous takes on current trends—pencil skirts, cropped bomber jackets, knit tops, seamed jersey dresses. There's a need and a place for those clothes, but the runway demands a designer who can tell a story, even if it's just a twisted classic. Cole may be passionate about hot-button issues, but we have yet to see that depth of feeling show up on the catwalk.
7 September 2004
Kenneth Cole’s fall collection was aimed squarely at the time-starved but fashion-loving modern woman who has minimal time to spend in front of her closet before dashing out the door.Aiming for can’t-lose classics, Cole showed simple tailored sportswear like full-leg wool flannel trousers topped by fine gauge sweaters and neat, belted trenches; motorcycle-style jackets cut slim to the body with broad, dramatic lapels and worn over skinny pants; slim, knee-length skirts; and easy jersey dresses. As might be expected from a man who started out in footwear, there was lots of leather, worked into the clothes or done up on its own into long swinging coats, roomy bombers, over-the-knee boots, and big totes.It wasn’t all dress-and-dash, though; Cole showed his charming side with Art Deco-detailed slips and bias-cut satin frocks, worn with fuzzy sweaters or one of those motorcycle jackets. Because even the hardest-working professional has to make time for nightlife, after all.—Janet Ozzard
5 February 2004
Kenneth Cole opened his Spring 2004 fashion show with a short film that celebrated his twenty years in the business. Most of that time Cole was solely (pun intended) a shoe designer, but in recent years he’s been pushing into new categories, like fragrance and fashion.For all his tongue-in-cheek advertising, Cole doesn’t fool around when it comes to fashion. His customer wants moderately hip, uncomplicated clothes, which the designer provides by putting a fresh twist on reliable classics. Last season, he was squarely in the mod camp; for Spring, he went over to the preppy side, showing big V-neck sweaters layered over crisp white shorts and worn with slim trousers or Bermuda shorts. Colors were neutral and muted—shades of gray, taupe, khaki, white—with an occasional splash of canary yellow or cobalt blue. Some charmeuse minidresses added a touch of glam, but for the most part it was an appealingly practical collection.
11 September 2003
Kenneth Cole has never been shy about expressing his point of view on current affairs. Political aphorisms, often in the form of puns, have been the mainstay of his advertising for more than a decade, and he used the moments before his fall show to present a short film that broadcast a few more ("Condoms should be used in all conceivable situations," etc.).What those ideas have to do with Cole’s clothes is left to the viewer’s imagination, since the designer’s take on women’s fashion is decidedly unpolitical. The clean, simple collection was based around a few basic shapes clearly inspired by early-'60s mods. Minidresses and skirts were worn with flat silver boots; tight jeans and trousers were paired with short, fitted tops and sweaters, rendered in black, white, gray and silver with dashes of green, yellow or blue. Throughout, Cole used fabrics heavy on surface interest: felted wool, nubby knits, velvet and corduroy. The net effect was young and moderately sharp—just right for this designer’s style-savvy, but not edgy, consumer. Cole’s social conscience may be left of the mainstream, but his fashion is aimed squarely at center field.
6 February 2003
Kenneth Cole makes the very flattering assumption that his customers are just as interested in being smart as they are in looking smart; that's (presumably) why his company has never hesitated to talk politics in its fashion ads. If you're a young, hip, liberal thinker, he seems to be saying, I can take care of you.On the fashion front, being taken care of means having the prevailing trends clearly edited and presented—something that comes naturally to Cole. For spring, the designer showed tailored safari and motorcycle jackets in white, olive and taupe cotton, worn over swingy knee-length skirts, drapey jersey tops and sweet dresses with tiny floral prints. Cole avoided the ubiquitous cargo pant trend, keeping his trousers lean and low-cut instead. As might be expected from someone who made his name as a shoe designer, leather was sprinkled throughout: There were boxy jackets, suede skirts and plenty of extras like chain-link leather belts, generous shoulder bags and nifty gold toeless pumps.More than half the looks that came down the runway were menswear; perhaps Cole is putting a bigger emphasis on building that part of his business. Or maybe he's realized that fashion, unlike politics, is truly an equal opportunity environment.
17 September 2002
Kenneth Cole's expanding womenswear business is aimed at the same young fashion lovers who've taken so well to his footwear and accessories—well enough, in fact, to make him one of the industry's more successful publicly held companies.The designer's Fall collection will not disappoint them, ranging as it did from trim pinstripe sweaters and boot-cut velvet jeans to slim jersey dresses and low-slung pencil skirts in tweed, suede, denim and leather. Cole did well with leather—as might be expected from a shoe-making veteran—showing looks like a glossy brown double-breasted trench and a supple camel suede jacket with red topstitching.There were a few misfires, such as the tweed cargo knickers that opened the show and the heavy, hip-length Shaker knit tunics. And the short, preachy film titledSeptember 11, 2001that opened the proceedings could have been dropped. But the clothes, fortunately, were message-free.
14 February 2002