#SuzyNYFW: Michael Kors - Marshalling The Military

In this moment of transition and political confusion that has made New York Week seem almost irrelevant, few designers have hit the right note. But Michael Kors did just that - and not only because a live orchestra was telling us hopefully that 'Sweet Dreams Are Made Of This'.

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The designer used all those clichés of tough and tender, with solid camel tailoring set against bands of sparkling fringe, and bare flesh facing off against winter cover-up. This was made more meaningful - and modern - by a deliberate mix of work wear and party pieces, rather than the traditional day-through-night presentation.

Three quarters of the show was played out in fifty shades of camel and grey.

Three quarters of the show was played out in fifty shades of camel and grey.

Three quarters of the show was played out in fifty shades of camel and grey.

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"You gotta have some glamour," said Kors backstage with his friend Blake Lively who was wearing the designer's flower-smothered dress that seemed to belong to a different - and sweeter - American era.

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A faultless mix of what the designer described as "sharp tailoring, utilitarian hardware and military strength" came with more fanciful evening pieces in molten metals and liquid lamé. That decoration kept a hint of the military from daytime looks to evening wear.

Evening pieces in molten metals and liquid lamé.

Evening pieces in molten metals and liquid lamé.

Evening pieces in molten metals and liquid lamé.

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It was as though Kors had perceived in advance the storms rolling over Washington DC and the new administration and made this collection purposeful, rather than escapist.

The collection was a faultless mix of sharp tailoring, utilitarian hardware and military strength.

The collection was a faultless mix of sharp tailoring, utilitarian hardware and military strength.

The collection was a faultless mix of sharp tailoring, utilitarian hardware and military strength.

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Three quarters of the show, which included the men's collection, was played out in fifty shades of camel and grey. Only towards the end did the designer pour in wine red, mostly a very dark burgundy.

Towards the end, Kors introduced wine red, mostly a very dark burgundy.

Towards the end, Kors introduced wine red, mostly a very dark burgundy.

Towards the end, Kors introduced wine red, mostly a very dark burgundy.

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The rest of the day clothes were as utilitarian as they could be when using the finest fabrics and matching the colour of fur to the cloth. Even the high heeled shoes or boots were made for walking - or perhaps striding - while slit skirts were made for movement.

Ashley Graham models a slit skirt, made for movement.

Ashley Graham models a slit skirt, made for movement.

Ashley Graham models a slit skirt, made for movement.

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You could tick off the wardrobe list: knits in camel, matching hose and suede boots, the same concept in severe tweed or in a more playful animal print fabric.

Michael Kors' A/W17 collection hit all the right notes.

Michael Kors' A/W17 collection hit all the right notes.

Michael Kors' A/W17 collection hit all the right notes.

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"Urban luxury" was another phrase that Kors used, meaning that the same uptown looks were carried through to the evening outfits when the surfaces or fringes sparkled.

With the demise of other uptown brands - whose new designers are bringing them literally and metaphorically downtown, in the case of Oscar de la Renta for example - the Michael Kors look stands alone.

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The show also featured the men's collection.

The show also featured the men's collection.

The show also featured the men's collection.

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But far from trotting out the familiar off-to-the-Hamptons Waspy cashmere and casual trousers, there was a meaty feel to this collection - marshalling the fashion military in a city - and a country - facing a tough moment in history.

Vogue

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