admin 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 told Wall Street Journal in 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 the au currant quiet 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.
