Michael Kors Pre-Fall 2012

[Stereo_Flo]

(Click for HQ!)







-wwd

 

[Stereo_Flo]

(Click for HQ!)







-wwd

 

[Stereo_Flo]

(Click for HQ!)







-wwd

 

[Alexei]

This has me intrigued. I'm liking what I'm seeing in the pre-fall collections thus far. Great colours and silhouettes.

 

[Crying Diamonds]

All of the coats are absolutely gorgeous, glad he kept the wild-west influence to styling and a few prints.

 

[Ives927]

Feels a bit like McQueen to me.

 

[Stereo_Flo]

Ann Bonfoey Taylor, a skiwear designer-slash-Colorado aristocrat and the subject of a recent exhibition at the Phoenix Art Museum, was Michael Kors' muse for pre-fall. "Nan Kempner on the range," he called her, meaning the lady liked her clothes. The sporty, slightly rugged sensibility of her personal collection rubbed off on his: knee-length walking shorts met a dip-dyed Mongolian lamb vest, and a tissue-thin knit tank was worn with a low-slung taffeta ball skirt belted at the hips. For accessories, he showed harness bags and polished cowboy boots.

Kors said pre-fall means three things to his business: "seasonless clothes; it's the power woman's favorite season; and it's Hollywood's evening season because runway dresses are too obvious." In the first category: a draped stretch wool sheath in a black and white plaid. In the second: a three-piece pinstriped pantsuit the vest of which stretched down to the model's knees. And in the third: a black silk button-down tucked into a washed faille short-in-front/long-in-back skirt and a stretchy turquoise tank dress with that same sassy, asymmetric hemline.

The three editors in chief at his small presentation—power women all—oohed and aahed the whole way through, but the group saved their real appreciation for the designer's outerwear. Kors has looked west for inspiration before, but he's a city boy at heart, meaning he knows the power of a smart coat. We counted at least three: a Mongolian lamb chubby color-blocked in black and white, a red riding coat with a grand fox collar, and an ivory zip-front coat with a built-in leather harness belt so you don't lose it at coat check. See what we mean about smart?

-style

 

[catherine88]

Feels a bit like McQueen to me.

Strong inspiration of McQueen.

 

[glossypages]

Personal opinion? Wild west meets the Amish meets Yeti's.
Not sure if I liked it to be honest.
Some elements were nice but some were blaah, example being, I really am sick of the circle shaped mullet skirts!

 

[haydn]

this is DSquared2 for michael kors. any of these looks could have come straight from a dsquared runway. not that it's a bad thing though. the prints are nice and the leather details work

 

[liberty33r1b]

I like most of it, and thankfully this is better than his SS12 collection

 

[TeeVanity]

Yeah I like this collection, see the McQueen inspiration as well.

 

[heelscatchfire]

I like most of it. All the coats are great and the silhouettes are nice, I also like the Western Wild West touches but I hate the fur.

 

[jemina]

I love this collection

 

[Selfportraitgrl]

I was actually quite surprised at this collection and I have to say, I think I might just love it all.

I also completely agree that there's a definite underlying McQueen inspiration here.

 

[Stereo_Flo]

by Emily Holt​

To hear Michael Kors tell it, women in Houston have no trouble finding a reason to don a full suite of diamonds—or emeralds or sapphires—in the daytime. And if he’s in town for a trunk show, they really dress up. “The last time I was there, Lance (LePere, Kors’s husband and creative director) was like, ‘I don’t understand. Why are they wearing evening clothes? It’s twelve noon,’ ” Kors recalls. “I said, ‘They’re excited we’re here.’ ” Of course they were. Kors is the most personable designer in fashion, always chatting . . . and always listening. “You hear women say, ‘I was stuck in my over-the-head fur and couldn’t get it on at the coat check,’ ” he says. “We learned you must hide a zipper somewhere. Or if the coat has a belt, it falls, and you leave it.”

For pre-fall, he solved the belt conundrum by simply attaching them to the coats. And what coats they were, particularly the charcoal felted flannel with a crisscross lapel that buckled, harness-like, and the cleanly cut, pony-hair balmacaan in a black-and-white oil-splattered pattern that was inspired by Richard Avedon’s landmark work, In the American West. Kors’s other major influence was the spectacular Ann Bonfoey Taylor exhibit at the Phoenix Art Museum (he and LePere traveled all the way to Arizona just to take in the show). The result was a collection that fused a cowboy sense of romance with Taylor’s equestrian chic: a long ruffle skirt with a cutaway hem in a graphic check, devoré silk dresses in turquoise and crimson, the most delicate peasant top in Chantilly lace.

Being on the road has also taught Kors how women really shop. For instance, he now knows that when pre-fall hits stores in May, “it’s working women buying clothes for work, people buying things to wear to a summer wedding, and fashion obsessives buying their first coat of the season.” So what does he do? He makes something for all of them: a super-versatile, not-too-conservative Taos plaid dress for the office, a long lace skirt with a tissue-weight cashmere tank for the nuptials, and a dip-dyed Mongolian lamb jacket destined for closets belonging to women like his ladies in Houston. “They don’t buy a coat because they need it,” he says. “If they’re in love with it, they just turn up the air-conditioning.”

-vogue​