'Ladies and gentlemen, please welcome Mr Rufus Wainwright!' I don’t think anyone has ever really doubted that Michael Kors knows how to have a good time but he truly exceeded all expectations in inviting his good friend to sing at his show. Wainwright was accompanied by a live band set right in the centre of the room, facing the big windows of Spring Studios and a bright New York morning ahead. It says a lot that such an unabashedly happy show and an unapologetically bright collection felt inherently political, but such are the times we live in. 'I’m with her!' Wainwright declared before breaking into Judy Garland’s 'Get Happy' without missing a beat.
'Powerful romance', was the disarmingly accurate way in which the designer described this collection. Simultaneously, with Wainwright crooning and the band playing, it had an Old Hollywood feel. The navy double-breasted coat dress that Joan Smalls wore to open the show, with its big white collar, belted, the sleeves pushed high, the slit even higher, would have been right at home on Katharine Hepburn. One could almost see the nutmeg floral jersey dress that followed on Bette Davis, with its nipped waist and plunge neckline, hair swept on one side, big earrings dangling. Blouses were frilly, skirts kicky. Daisy and azalea prints popped in pink and tangerine or turquoise and lime green combinations. On the other side, a big trench coat over an argyle knit over a pinstripe shirt and navy Bermuda shorts looked like something Hepburn and co would have worn off set. Everything was exaggerated for maximum comfort: the collars, the sleeves and cuffs on a shirt, a navy cashmere pullover with 'Love' on it or a ribbed grey one over an even bigger white shirt and roomy cropped trousers. A palette-strewn black skirt suit towards the finale seemed particularly presidential. 'Shout hallelujah, come on get happy, get ready for the judgement day…'