Kors had both, in the form of colorful boas and an intarsia chevron coat. The collection was informed by his West 50’s stomping grounds, with Studio 54 playing the lead role. Kors secured the rights to the logo, and he made plentiful use of it, embroidering it on a sequin T-shirt dress, splashing it across a full-length puffer, and printing silk blouses for both guys and girls, worn unbuttoned to the navel in both cases. If Andrea True wasn’t on the soundtrack singing “More, More, More,” she might as well have been. Kors knows all the oldies, and he isn’t one to shy away from camp. But there were also subtle cashmere knits in the mix—minimalist nods to Lincoln Center’s ballerinas that balanced the maximalism elsewhere. And he brought the lithe athleticism of those knits to dresses in sequined matte jersey.
To finish, a black curtain pulled back to reveal a wall of gold tinsel and Barry Manilow. The crooner performed “Copacabana,” after which Kors came out for his bow with another legend of the era, model Patti Hansen, who closed the show in a metallic trouser suit. Could anyone else provide this kind of fun at 10:45 in morning.
Model Legend Patti Hansen
By Samantha Hunter