Welcome to what Michael Kors calls fashion’s Wild West, the season of anything goes. More formally, Kors now rejects the handle “pre-fall” with its implication of earthy colors and lightweight tweeds, in favor of the more visually inclusive “transeason.”
“At this time of the year, the needs are so varied,” Kors said. “You get to do everything from a mink coat to something someone will wear on a boat. You can have a cotton dress for a summer wedding, office clothes, the first coat to wear in September, something someone will wear on the red carpet in Cannes.”
Whatever the designer’s verbiage, it works, as the lineup Kors showed in private appointments at Spring Studios looked fabulous. While it did indeed offer possibilities for all of the afore-referenced occasions — not to mention multiple climates — its message was far from scattered. Rather, Kors homed in on a handful of elements that unified the collection’s broad range that spanned seamlessly from a cashmere sweater over crinkled “articulated” pants (read: an additional panel of fabric copped at the knees) to a modernist siren gown with seductive racer-back.
As always, unification began with the counterpoint of masculine and feminine. Kors expressed it variously, whether in a sleeveless wool reefer over charmeuse-Chantilly slipdress or in “floraflage” — posy prints in a camouflage palette. The florals and lace grew into major motifs, the former often in spectator black and white. And there was pink, lots of it. “It’s great in a weird way, in a closet full of black, which my customers will not give up,” Kors said. Weird? Too harsh a descriptive, perhaps. But among the looks crying out to shake up a sophisticate’s closet noir: a pale pink-and-white intarsia mink coat with a dash of kookiness to its ample, audacious appeal.