Michael Kors, 1992

Explaining his latest collection to Elsa Klensch, Michael Kors speaks with a charming candor that would eventually serve him well in his second career as a fashion critic. You can certainly appreciate the unabashed frankness and lack of pretension as Kors cites country clubs, Newport beach, and Esther Williams as points of reference for his all-American creations. It’s a very matter-of-fact approach to designing; addressing the sometimes deadening reality rather than outlandish ego. How else can you achieve such gems like a trench coat in silk shantung, the T-shirt at night, or swarthy meters of tulle worn merely as an accessory? It’s not Kors’ modernist approach to American sobriety or his unapologetic homage to sportswear that endears you to him, it’s his tireless conviction and complete and utter lack of irony that nabs you. He’s not a designer trying to be something he’s not, and as simple as that sounds, it actually makes out to be one of the rarest qualities in fashion. His mission is to give glamour to women in the easiest way possible and once you get to realizing this it can lead to a wealth of interpretations of his work .


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