Kate Spade New York
February 10, 2018 - fall Denim
For today’s Kate Spade Fall presentation, a second building of New York’s Masonic Hall was remade into a bustling, nation music–rich environment suggestive of Nashville, Tennessee. It was a final collection from Deborah Lloyd, who, in Nov 2017, stepped down as a brand’s artistic director, a position she hold for 10 years. (Nicola Glass, a former comparison clamp boss of accessories pattern during Michael Kors, will be obliged for subsequent season.) While Lloyd’s meticulously lovable hold was present, translated by elaboration and embellishments, a collection generally seemed some-more pared-back than usual. That’s not a bad thing. A unsettled patchwork denim cloak with a bold Peter Pan tone was both orderly and fun. Those really literal, humor-tinged looks that Lloyd is good during were there, such as a calfskin fur cloak in a cow-spot print, braggadocio cropped, kicky sleeves. (It was luxurious, though a judgment could be off-putting for animal lovers.) A standout was one of a easier pieces, a gray nap turtleneck that abstractly illustrated galloping horses, with sections shaved down in certain areas for a trompe l’oeil effect.
A menswear change was here, too, though it was cut with some honeyed additions. Underneath a pin-striped cropped breathe and a relating tailored coupler was a flattering white shirt with a neck ruffle—perfect for violation adult a boyish sharpness of a set. A tailored cloak had that Kate Spade aptitude interjection to lapels prettily festooned with white flowers. What was missing? Lloyd’s clever, double-take accessories, finish with double meanings, that have turn synonymous with Kate Spade over a final decade. Now, let’s see how Glass will proceed that sold facet of a company.