88 posts tagged "Michael Kors"
Today, Michael Kors will join the ranks of Karl Lagerfeld, Dries Van Noten, and Oscar de la Renta when he accepts his Award for Artistry of Fashion from the Couture Council of The Museum at the Fashion Institute of Technology. Though the man, who has created one of fashion’s largest empires with his namesake American sportswear label, hardly needs an introduction, Hilary Swank will be on hand at the Lincoln Center luncheon to properly present him with the honor. Style.com caught up with Kors to talk about fashion as a sport, triple shoulder pads, and more. And no, in case you were wondering, even a pro like Kors is not ready for fashion week. “You know, we are never ready until five minutes before the show,” Kors told us. “But that’s the way it is.”
You’ve been designing for over thirty years. Do you still find fashion exciting?
This morning, I was watching that swimmer Diana [Nyad] who is 64 years old, and she really had the endurance to keep trying and keep persevering. Fashion is an athletic competition and you have to have endurance and you have to stay excited about the idea that things are always changing. The world always changes, therefore fashion changes. I am excited about the fact that no matter how many years I have been doing it, you never know all the rules. You never know exactly what the game is going to be because the game is always changing.
What have been the most interesting changes you have seen in fashion during the course of your career?
There are three changes that have rocked fashion and continue to do so. Number one is the internet. Fashion became accessible quickly and 24/7 to anyone who was interested all around the planet. Clothes used to be very specific by country. The introduction of the Web was like when the Berlin Wall fell—it took down the barriers around the world in fashion. Number two, the rules have totally been thrown out the window. No one would have thought that people would be going to parties and fashion shows in February wearing sandals, or that they would wear sequins in the office during the day. Plus, the idea of “dressing your age,” has been totally diminished. In today’s world, if you have amazing legs, you might be a 60-year-old and wearing a short dress. Or, on the other hand, you might be 16 years old and instead of looking girly, you look sophisticated. The biggest change, though, is probably the democratization of fashion. When I started, you had to be wealthy and fashion-obsessed and live in a big city to really feel that there was anything in the fashion game for you. Today, it’s all about a certain taste level, a certain point of view design-wise, and it’s not about the price tag.
You are getting the award from FIT, where you attended school. What was one of the most challenging moments from your time there? I did not grow up sewing. There was no sewing machine in my house. The idea of sitting down and trying to be really exacting at the sewing machine was like an I Love Lucy episode—me sewing turned into Lucy at the chocolate factory. On the other side of the coin, I had been sketching since I was really small. When I arrived at school, they were trying to teach us really rudimentary things [about sketching] and I was like, “I have been doing since I was a 6-year-old.” I was either left back or a genius. I was never in the middle while I was in school. That’s for sure. Continue Reading “Michael Kors: “Fashion Is An Athletic Competition”” »
This month at the Fall ’13 Couture shows, a string of designers skipped the strapless cut and instead embraced a crisscross or strip of fabric just above the heart. “The cross-body neckline is a modern look at Couture,” stylist Jessica de Ruiter explains. “It allows for a flash of skin despite the dress being quiet, covered with long sleeves, or classic in its silhouette.”
At Atelier Versace, Donatella deftly proved her hand at Couture (having returned to show again in Paris only a year and a half ago) with a striking body-con number featuring open panels, which, to de Ruiter’s point, revealed nothing and everything all at once. Subtle seduction appeared at Bouchra Jarrar, too, where the designer paired the cross-my-heart neckline with menswear separates, tempering its overt sex appeal with trousers. And Alexandre Vauthier brought a new draped take to the trend, artfully crossing the fabric over the chest while still leaving plenty of skin on display. The design even made its way across the Atlantic, landing on Catherine Zeta-Jones at New York’s Red 2 premiere. She donned a revelatory Michael Kors (from Fall ’13, no less) that kept the trend on track despite New York’s near-triple-digit weather.
With all the talk surrounding the men’s shows, you might have forgotten that Resort is still under way, and, while browsing through the collections, we’ve noticed an abundance of bold, statement-making necklaces, which are giving soft Cruise looks an extra punch. Over at Michael Kors, we saw giant, bondage-tinged, padlock- and chain-embellished chokers, which lent a dangerous edge to ladylike dresses, overcoats, and blazers. Juan Carlos Obando turned out a cage-like collar, which he used to toughen up a crisp white bias-cut dress. “It’s a modern take on an historical tribal piece,” he told Style.com. “[It] allows the collection to embrace cultural values while endorsing strong and modern ideals.”
Meanwhile, Jenni Kayne‘s heavy draped metal chains added a new dimension to chiffon caftans and maxi dresses. And at Lanvin, Alber Elbaz’s chain-link necklaces and huge pendants—many of which had a hip-hop-gone-Egypto vibe—brought an air of irreverence to his elegant column gowns and bejeweled cocktail frocks.
The Met’s Punk: Chaos to Couture curator, Andrew Bolton, reportedly professed that pink is the color of punk. But, judging by the Resort collections, such associations are all but gone. Designers are swapping angst for allure, offering a noticeably softer take on all things coral and flush. Michael Kors, for example, afforded a bubblegum-colored jumper, replete with a mega-size turtleneck and lots of cozy fuzz (above, center). Max Mara showed a slouchy hooded overcoat in rosebud (above, left), and Giorgio Armani channeled a candy striper with a neat, structured blazer in magenta and golden stripes.
Moving beyond outerwear, Oscar de la Renta paired a cropped jacket in a cotton-candy shade with a matching top and electric-roseate skirt (above, right), and at Akris, Albert Kriemler invoked the arresting palette of Luis Barragán’s Cuadra San Cristobal estate on the outskirts of Mexico City—the result was a collection boasting shades of the manor’s pink stucco and serene fuchsia sunsets.
Alicia Keys kicked off her international Set the World on Fire tour on March 7. And according to her stylist, Laura Jones, her performances are all about the singing, rather than fancy costumes (unlike some pop stars). “Alicia doesn’t like to do a lot of costume changes. We’re not trying to build up some big embellished look [and] we didn’t want her to be hidden by the clothes,” says Jones, who’s been dressing Keys for a year. (They met while Jones was assisting Edward Enninful at W magazine.) But just because Keys is all about the notes doesn’t mean she neglects her onstage aesthetic. For the tour, Jones tells us that they went for strong, sexy, and sophisticated. “Alicia really, really loves clothes and she’s really hands on. She’s hit a place in her life where she’s feeling really confident. We wanted her wardrobe to reflect that,” explains Jones. In order to achieve Keys’ bold but pared-down look, Jones enlisted the help of Michael Kors (who designed the shimmering blue gown Keys wears at the end of her set, as well as the red stunner she donned while singing at the Inauguration last January) and Akris’ Albert Kriemler, who created a host of custom wares.
“The focus was on details, fit, and flattering cuts,” says Jones, noting that Kriemler worked closely with her and Keys for months (in fact, before he met the star, Jones sent him YouTube videos of Keys performing so he could get a sense of how she moves on stage). “It’s all about understanding how she’s going to perform and knowing what fabrics are camera friendly and body friendly,” she adds. (Apparently, jersey is a safe bet for all of the above.) “My job is to make sure the clothes never get in the way of her performance. They should maximize her movements, maximize how she feels, and be a great marriage of functionality, sophistication, and longevity. She’s touring for the rest of the year, so she needs to wear something that won’t feel stale in a couple of months,” offers Jones, explaining that the designers made Alicia around seven different outfits so that she can change up her visage from one performance to the next.
As for the end result, it seems Keys’ team nailed it—last night, the singer gave an animated performance at L.A.’s Staples Center in an Akris V-neck paillette bodysuit and a black Maison Michel hat. So how does the singer feel about her Set the World on Fire wardrobe? “The tour is about a journey to freedom and personal strength,” Keys told Style.com. “I wanted to embody that energy and spirit. The Akris looks that Albert Kriemler designed for me are the perfect balance of striking, strong, glamorous, and chic. I feel empowered on stage wearing them.” Jones was pretty happy about it, too. “When you see it on stage, and everyone is screaming, and she looks so divine, you know you’ve done a good job. And that feels great.”