There are no clouds up above for Michael Kors this spring. And why should there be? As usual, Michael is feeling upbeat and “optimistic” (his program notes suggested, “the optimism of an endless horizon and the blue skies ahead”) and he headed out west (rather than traveling to a chic city, an exotic island or the Mediterranean). The collection is about “rustic romanticism” or “romantic minimalism”, Michael’s take on the current trend towards something soft and un- aggressive... But  Michael has been around so long, let’s not forge that he was one of the first designers to elevate the ‘common’ into something special, turn a classic into something distinctive, and irreverently mix  ‘high’ and ‘low’ which seem to be the watchwords of fashion right now. Regardless of the fact that I felt there were a bit too many long full skirts for day, what I loved about the show was its easy, uncontrived feeling- nothing fussy, uptight, overly ladylike, retro, or uncomfortable looking. In a word, it looked very offhanded in its silhouettes, pairings, and mood, which to me, defines the notion of ‘modern’.

Everything was grounded with a flat leather huarache, sandal, or boot- not a stiletto in sight which enabled the star models to saunter confidently, comfortably, and energetically down the runway with their fabulous trenchcoats, sweaters, full, often tiered and very long skirts, slouchy cuffed up pants of all lengths. Rugged brown leather belts often encircled waists of dresses, coats, and jackets for both day and night, and Patricia Underwood’s large brimmed hats were slung around the necks of the models to get the message across. Elongated mufflers, aviator sunglasses, and oversized satchels, Michael’s signature accessories, were used throughout (on the men as well).. 

It was all about neutral earth shades, warm shades of ecru, sand, hemp, and khaki which were spiced up with nutmeg and cayenne, and of course black and white. Michael was yet another designer who loves black and made a strong case for it for spring. In terms of fabrics, which are always luxurious and textural: there was rugged hemp and linen, crushed metallic blend linen, cotton, suede, and eyelet (which in Michael’s hands somehow do not come off as all too sugary sweet). Speaking of white eyelet, his floor length full skirted eyelet shirtdress was an inspired take on a classic and sums up his idea of underdone glamour. What a fabulous way to go to any big party in the spring or summer. Whisper weight voiles and batistes, georgette, Chantilly lace and point d’esprit rounded things out.  There was a camouflage print and a bold ‘Tao’ floral (nothing ditsy or delicate).

In addition, there was a lot of cross over and blurring of the lines between day and evening (another Kors signature and something he has always done so well). And in fact, his strongest pieces were those that made use of this technique (as well as the unexpected juxtaposition of hard with soft). Among them: the sand crushed metallic linen trench, white cotton tank, and long gold hand embroidered tulle skirt; the ecru linen sleeveless sweater worn over an ecru point d’esprit long tiered skirt; and the black cashmere interlock cardigan thrown over a black camisole and an ecru silk organza hand embroidered skirt. And what would a Michael Kors spring show be without a fur? In this case, a hand painted camouflage backed mink balmacaan over a white linen tank and white crushed metallic trousers.  As for the finale, the small group of black beauties at the end included an amazingly form fitting bustle back black crushed metallic duchesse gown that would look just wonderful on Catherine Zeta Jones at the Oscars or Golden Globes. Oh, funny thing, she was front row center along with hubby Michael Douglas, causing a paparazzi feeding frenzy.

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