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.
