style & theory

Kate Spade Spring 2012

Kate Spade Spring 2012

Kate Spade’s Spring 2012 presentation was held Tuesday afternoon.

The presentation space (on 26th Street, just beneath their offices) was beautifully laid out: Not row after row of benches, like most shows, but a mix of fabric-covered ottomans and plastic chairs in a half-circle around the stage. It felt intimate.

After the lights dimmed and guests took their seats, creative director Deborah Lloyd gave a short speech outlining the inspiration for the collection, namely Wimbledon, which she attended for the first time this year, and Australian artist Florence Broadhurst.

Models, hair swept back into thick ponytails and sporting bright makeup, walked out in sets of six. Lloyd described each item in turn, pointing out clever or humorous details we might have missed: a clutch shaped like a steamboat, a green dress patterned with tennis balls rather than polka dots (two personal favorites).

I loved, too, an octagonal print that showed up in a skirt, blouse, necklace and pair of pointed heels, a polka dot tent dress with an extended collar, bags that urged you to “play hooky” or “eat cake for breakfast” — charming, witty and bold, the best of the Kate Spade brand.

My colleague Christina Warren remarked at the end of the presentation that the collection brought to life the Barbie closet she dreamed of when she was a little girl. I laughed.

Photos and text by Lauren Indvik

Nanette Lepore S/S 2012. Click to see the full slideshow.

Highlights from Diesel S/S 2012.

Yes, I am that behind.

a short interview with burberry’s christopher bailey

After Burberry’s runway show in Hyde Park on Monday, I went backstage for a (very brief) interview with chief creative officer Christopher Bailey. It was my second backstage interview (after Nanette Lepore just a few days earlier), and I was admittedly nervous.

Christopher, meanwhile, had already been surrounded by jostling reporters and film crews (pictured above) for 20 minutes by the time I got to him, and one of his colleagues told me he had another 30 minutes of interviews after that. Exhausting.

By the way, he’s tremendously polite.

I’ve written up my thoughts and part of the interview in a Mashable article here, but also wanted to share the full transcript of our conversation below. I italicized the parts I found most interesting.

Earlier this year you said that Burberry is now as much a media company as a fashion company. What did you mean by that?

What I meant by that is that you can have both. I think you can’t ignore technology and digital communication, and we happen to be a luxury fashion company, but I get excited about using all of those platforms to communicate to all of our different communities around the world what we’re doing.

Due in part to your use of livestreaming and social media, Burberry’s show is no longer a private trade event re-presented by the media, but a global, consumer-facing event. As a brand, what is the value in being able to broadcast to consumers directly?

I don’t think it that takes away from traditional media, I just think it’s another channel. It’s good to speak directly to consumer as well, but again I don’t mean to actually eliminate anything. What it does do is you get in a conversation which I find very interesting and inspiring way because it’s a two-way stream. A brand is not just about product, it’s about experience as well, and experiences need to come from the center of a community.

As a brand, what is the benefit of positing yourself as digital pioneer?

You know, i’s not even a positioning thing. We sometimes describe as what we do or what we are is a ‘young old community.’ We’re 155 years old, but it’s a very young team. Digital communication, digital technology, is part of the way everybody lives. It would almost be weird if we didn’t do it.


Donna Karan S/S 2012.

Powerful, dark, tribal; lots of energy and movement.