Kate Spade’s final collection: There’s a story behind every piece

The late designer is still present in the new accessories from her Frances Valentine label

At the airy Frances Valentine headquarters in New York. Photograph: Stefania Curto/New York Times

At the airy Frances Valentine headquarters in New York. Photograph: Stefania Curto/New York Times

 

In June, not long after the designer Kate Spade was found dead by suicide, the employees of Frances Valentine, the accessories label she helped found in 2016, gathered around an oval table. They were in their airy headquarters, a former artist’s studio that looks more like the pied-a-terre of a magpie tastemaker than an antiseptic company showroom.

“We just thought, Can we go on?” says Elyce Arons, the chief executive and a founder of the label (as well as Spade’s best friend from college), sitting at that table two months later.

Arons is framed by paintings by Julian Schnabel and Rene Ricard from the collection of Andy Spade, Spade’s partner in both life and work; two velvet sofas; a bar cart; and assorted shoes and handbags.

All of Kate Spade’s collections are marked by the interaction between the person and the product that made her work so intensely appealing to its dedicated client base

After all, the label was less than two years old, just beginning to take root – it has only 10 full-time employees – and emotionally rent. Arons was not the only one asking the question.

This week everyone got an answer.

A series of collections will roll out over the next months of Spade’s designs – before her death she had overseen the current autumn collection, as well as the soon-to-be-available resort collection and the coming spring line – as well as homages to her as guiding spirit.

All of them are marked by the same interaction between the person and the product that made her work so intensely appealing to its dedicated client base. There’s a story behind every piece, most of them grounded in Spade’s own mythology and worldview.

Kate Spade: the late designer at her offices in 2002. Photograph: David Howells/Corbis via Getty
Kate Spade: the late designer at her offices in 2002. Photograph: David Howells/Corbis via Getty
Elyce Arons, the chief executive of the Frances Valentine label, wears a cardigan that echoes one from Kate Spade’s closet. Photograph: Stefania Curto/New York Times
Elyce Arons, the chief executive of the Frances Valentine label, wears a cardigan that echoes one from Kate Spade’s closet. Photograph: Stefania Curto/New York Times

“We had such an outpouring from customers saying, ‘Please keep the company going,’ ” Arons says. “It became obvious that’s what we needed to do: go forward and honour Katy.”

(The Kate Spade New York brand, which Spade left in 2007 and which is owned by the fashion group Tapestry, is also going forward. It held its first runway show ever on Friday.)

First up – at least after the reorders of the autumn collection, much of which sold out within a week of going online, on August 1st – is the Kate, a new version of the first bag Spade made. Originally called the H120 – “H” for “horizontal” and “120” to obscure the fact it was the first; maybe it was the 120th! – it was the label’s debut style in 1994 at a trade show. It caught the eye of Barneys New York.

The reborn bag, which will cost $195, or about €170 – a percentage of sales will go to the Boys & Girls Clubs of America – is a minimal nylon satchel in primary shades with a gold zipper across the top and a signature embroidered valentine heart inside: utility for the light of heart, which is kind of a Spade thing.

Inside Frances Valentine bags is a signature valentine heart. Photograph: Stefania Curto/New York Times
Inside Frances Valentine bags is a signature valentine heart. Photograph: Stefania Curto/New York Times
The Kate bag, a new version of the first bag Spade ever made. Photograph: Stefania Curto/New York Times
The Kate bag, a new version of the first bag Spade ever made. Photograph: Stefania Curto/New York Times
The patent leather bag Kate Spade designed for spring. Photograph: Stefania Curto/New York Times
The patent leather bag Kate Spade designed for spring. Photograph: Stefania Curto/New York Times

See, for example, the canvas tote that makes an appearance for the resort collection. It features a sketch of Spade made by her friend Matt Grenby, of Parker Thatch, when he and his wife were on vacation with Kate and Andy – her hair in its signature messy updo, thick-framed glasses perched on her nose, Martini in hand.

Or see the tutti-frutti hula bag, complete with generous fringe. Or, for that matter, a dress “the accessory to our accessories”, Arons says – that is about to go online for pre-order: a bright red traditional Mexican smock embroidered in white peacocks and inspired by one of the many Mexican dresses in Spade’s own closet.

“We took a big, big family trip together to Mexico in 2006 after we sold our first company, and we did a lot of dress shopping,” Arons says. “She loved to shop in markets, and she’d always come back with baskets and hats.”

There’s also going to be a vintage-inspired cardigan stitched with multicolour flowers that echoes one of Spade’s own sweaters on offer. (A clothing rack in the showroom is still jammed with many of her pieces, including a geometric Marni coat, a vintage pale-yellow 1940s tea dress, and a richly tinted evening skirt, all of which were often used as the wardrobe for the company’s campaigns and look books.)

Less nostalgic is a new signifier – a slice of the geode that formed the first hit Frances Valentine heel, now reappearing on ankle bootees and transformed into a closure for purses and a charm on bigger totes and the bag Spade designed for spring: an architectural jigsaw of bright patent rectangles or picnic plaid etched in beige leather.

She would probably have grabbed the green sample and started using it immediately. We always knew she loved something because it would disappear the next day

Spade never saw the finished sample, but if she had, Arons says, “She would have thrown her hands up in the air and said, ‘Love love love.’ Then she would probably have grabbed the green sample out of the showroom and started using it immediately. We always knew she really loved something because it would disappear the next day.”

According to Arons, Spade left behind enough ideas to power many future collections. Tote bags full of slippers from the Moroccan souk, tasselled rattan pouches and piles of test patterns, all stored away in the nooks and crannies of the showroom.

“She’s the best editor I know,” says Arons, who has a tendency to use the present tense when talking about Spade, before catching herself. “We’d do all this work, and she’d look at it and say, ‘I love it, but we need to focus.’ We could lose half a collection. But we still have everything that was cut. Now we can do it all. She’d be happy about it.”

Arons looks at another bag for spring, which features a classic portrait of a gentleman who happens to be Katy and Andy’s Maltese, Po. “Her designs live here,” she says. – New York Times

Selected items from the Frances Valentine range are available with shipping to Ireland from Shopbop

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