For Orla Kiely a bright green pear isn’t hanging from a tree, but off the side of a dining room table; decisively colored vines tie up double decker buses; and motorcars are parked all over luggage. Kiely is a modern designer that focuses on pattern. Her patterns are applied to all manner of functional items: clothing, handbags, housewares, luggage, vehicles, and more.
Originally from Dublin, Ireland, Kiely’s life, and certainly the Orla Kiely brand was born of “colour, pattern and texture with a '60s twist” (according to the designer herself).
Kiely is a graduate of the National College of Art and Design in Ireland with a focus on textiles and design, and thereafter the Royal Academy of Art in London with a MA in knit. Between graduations, Kiely worked for the retailer Esprit as a pattern designer.
After completing her program at the Royal Academy of Art, Kiely began designing hats for the retailer Harrods. A successful line of accessories, particularly handbags, followed.
Design and consultant work for major retailers continued, and Kiely worked on her signature designs on the side. And then, in 1997 with her husband, Dermott Rowan, Kiely launched the Orla Kiely Partnership.
Since this launch the Orla Kiely brand has grown exponentially into a multimillion dollar per year business. A business so successful that it has been featured in retailers in Asia, throughout Europe, and North America, acclaimed via blog across the internet, and lauded in Fashion Weeks, magazines and other print media. Her designs have not only grown in worldwide popularity, but the application of the patters have expanded in variety. In addition to accessories, clothing, and housewares, the brand also now includes sunglasses and stationary.
2010 was a strong year for Kiely; another year of firsts and variety: her first book ‘Pattern’ was published, her first fragrance hit shelves, and the Orla Kiely Citroën DS3 car launched in limited edition.
First up for 2011, Kiely was a presenter at London’s Fashion Week on February 18th. Beyond that, we can only speculate that Kiely will continue to take a big juicy bite out of the fashion world with her aesthetic.
What is it about the Orla Kiely aesthetic is so captivating? Kiely’s pattern work is certainly eye-catchingly bold and graphic. But, I believe that a deeper reason has resulted in such wide-scale devotion to the brand. I speculate that it is the universal qualities in Kiely’s work that have prompted her global success.
The Kiely aesthetic harkens back to the Scandinavian design movement of the 1950’s through the 1970’s. This movement was characterized by simple, minimalist style that could be inexpensive produced on a mass scale. Due to the mass production aspect, this design movement conveyed a notion of social democracy; in this instance, beauty could be found in everyday functional objects, and not just luxury objects only available to the wealthy. This price point sensibility is not ignored by the Orla Kiely brand, which explains the still rising profits, in the face of economic downturn. Universally speaking, we have a shared history and social interest with this type of aesthetic.
The universal aspects do not stop at history; what could be more recognizable, more universal than her vines, flowers, and other organic forms? While most viewers enjoy natural subject matter, the viewer’s attention is held by Kiely’s geometric handling of the organic subject matter. The ingrained conflict between manmade and natural intensifies that visual interest.
Likewise, the symmetrical and simple composition wherein positive and negative space is balanced is easily approachable for any viewer. Kiely also alters these components to hold the viewer. The pattern’s symmetry is juxtaposed by applying it to three dimensional objects, and the static elements of simplicity and space is offset by the use of texture, the rhythm created in the contoured space, and focused colour. The colour is bold enough and arranged to make an impact on the viewer, but is not jarring or off-putting, which serves as another universal component.
The collective quality of the Kiely aesthetic has created the strong brand identity. This identity has been reinforced and supported by creating more patterns and images that have strong similarities to Kiely’s past work. This leads me to wonder what the outcome would be if she were to create a pattern or product that pushed the brand identity/style in a different direction. When and how should brand identities change? How much is too much? As with the Scandinavian Design movement rise and fall before her, can the fickle public’s love affair with Orla Kiely last? Presently, Kiely’s universalism is triumphing over the embraced fashion trends.
