Michael Kors
NEW YORK, September 16, 2009
By Nicole Phelps
Madonna and Lady Gaga may have been on the soundtrack, but Michael Kors' show was decidedly not meant for the pants-less set. Explaining that he was thinking about architectural shapes, he sent out a sleek collection that, save for a few missteps, played like an ode to the city in springtime, along with its high-powered inhabitants. The strong yet rounded shoulders of his jackets and vests put the power in power suit. Overall, though, he was more interested in sleeveless shift dresses, a favorite of his most high-profile client of all, Michelle Obama. They came in silver crinkle lamé, crushed techno taffeta, draped jersey, and glove leather, but the most interesting was a radzimir number in sky blue with origamilike folds. Kors created surface interest elsewhere with zipper accents that zigzagged around the torso of a mint green asymmetric-neckline sheath, or with bold cutouts that exposed a flash of rib on a cocktail dress.Occasionally, Kors' enthusiasm got the better of him. Dresses with graphic plastic insets might pinch, were some gal to wear them longer than it takes to make a circuit of the runway. And a further detour into deconstruction and high concept—via cashmere knits with slashes at necklines and hems, along with a trio of sweaters with extra sleeves—was off-key. But the show ended on a high note, with a pair of trompe-l'oeil sequined dresses, their graphic shapes evoking a nighttime skyline.
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Spring 2010 Ready-to-Wear
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