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<h1>michael kors handbags canada</h1>
It seems audacious to choose this particular moment in American history to dub camouflage the new fashion basic, but Michael Kors claimed precedent by pointing to its fashionability michael kors handbags canada during the Vietnam era. Social comment or simply a classic print? You decide, Kors said before his show. Either way, camouflage provided the graphic cornerstone of a collection that reveled in a desert-toned earthiness. The print appeared in an army jacket worn with patchwork fatigues (nothing ambiguous there) and, memorably, as a hoodie under a dark-chocolate linen suit. Kors always builds his collections on a dream couple. This time, it was Taylor and Hudson in Giant, with a dash of Stieglitz and O’Keefe. (The designer got Douglas and Zeta-Jones for his front row, who are surely a dream couple in the eyes of someone, somewhere.) A relaxed, Texas-Taos vibe prevailed: the models wore sandals, and a cashmere sweater was blanket-stitched, as was a pair of chamois jeans. Jackets, shirts, and trousers had a pre-worn crinkle, courtesy of the season’s ubiquitous metal/cotton blend. And one shirt drew its print from the pattern on a bandana. For a Michael Kors show, it verged on funky, though the designer’s jump-back reaction to the word suggests that he feels it compromises his innately chic, urban sensibility. Still, when he turned to big-city black-and-white, Kors showed it as a hooded linen sweater over loose linen trousers and as a wrinkled cotton suit—and always with sandals. Like we said, kind of funky.After last spring’s dip in the Mediterranean, Michael Kors sought fall inspiration in his New York stomping grounds—Madison Avenue in particular, where a Saturday afternoon stroll calls for a turtleneck, khakis, and a mammoth raccoon coat. As Gwen Stefani sang about a “million-dollar contract,” Kors’ models streamed down the runway in suitably luxe silks, suedes, and cashmeres, and fur aplenty. The designer favored streamlined, sport-influenced silhouettes, from second-skin stretch-crepe bodices on dresses to ski pants in nylon or faille. Graphic blacks and whites were accentuated with shots of bright red, blue, and purple, and camel was teamed with icy gray. Kors’ cosmopolitan outfits were topped off with knit caps and goggle-like sunglasses—but if his city girls have a real hankering for the slopes, they can slip into a snowflake tube top or a simple dress accented with racing stripes. In addition to all those polished sportif looks, Kors included enough evening options to clothe customers with a party to attend every night. Cocktail numbers were studded with crystals and trimmed with feathers that shimmied as the models strode by—he didn’t call them “dance dresses” for nothing—while his gowns in monochrome brights were made for the spotlight.

Since he opened his store in L.A., Michael Kors has been struck by how adventurous Hollywood men are in their approach to dressing. He had George Clooney in mind (with Gwyneth Paltrow as a dream consort) for Michael Kors Men Watches his new collection. In practice, though, Kors’ Tinseltown fantasy turned out to be a pretty literal expression of the sports-and-suits fusion that has dominated the fall season. He showed a lot of ski pants, paired with everything from a fox-trimmed silver anorak to a herringbone blazer. Most of them were in nylon, and worn with goggles, a knit hat, and an enormous muffler (Scarf alert! Start knitting now!), they looked ready for Aspen, which has always been another dream locale for the designer. When he moved away from the synthetic, Kors showed trousers with a fuller, forties influence. Given the collection’s monochrome palette, these evoked inevitable echoes of Old Hollywood, except that backstage he claimed it was a private order from Usher that inspired him. He’s the kind of urban dandy who might be partial to some of Kors’ more exciting flourishes, like the coats in nutria and broadtail.Michael Kors claimed his inspiration came from Africa this season. The show notes called it “Afriluxe,” an unfortunate bit of marketing speak given the famine crisis in Somalia. But the designer didn’t make that misstep with his clothes. This is, after all, territory Kors has explored before. He demonstrated a mostly sure hand today, synthesizing animal prints, hand-dyeing techniques, djellabas, and accessories like crocodile-strap cross-body bags and gladiator sandals that climbed almost to the knee with the easy American sportswear that he owns no matter what the season. Cashmeres, his familiar one-shoulder dresses, sporty swimsuits—this collection had many of the Kors signatures. Only this time around, the sweaters came holey, as if they’d been stuffed into the bottom of a rucksack (OK, maybe better to leave them in there); an asymmetrical dress was woven and fringed by hand; and the tank suits were accessorized with utilitarian belt bags. Morocco? Montauk? A green and red tie-dyed cover-up will look just as right on the sands of either place. But if his gals will take a pass on a scrappy patchwork sweater and skirt, they won’t need to book a trip to the Lebombo Lodge, which he mentioned in his program, to want to scoop up his suede jumpsuits, camp shirts, and wrap skirts. Sarongs might be a tougher sell with the Michael Kors man, but there were other pieces that delivered the look in less obvious doses: long, dip-dyed scarves, slouchy cargos, ropy sweaters, and washed leather jackets.0aZkdBNa

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