Here Are The Michael Kors Sneakers That Are Only Available To Facebook Fans

Michael Kors is experimenting with exclusive offers that are only available to its fans on Facebook. Today, the company offered a limited edition of 500 pairs of these zebra-print high-top sneakers to its followers:

MICHAEL <a href=Michael Kors Outlet Facebook Exclusive Sneaker” width=”600″>Michael Kors / Facebook

If you want a pair — and who wouldn”t? They go with everything! — you must like Michael Kors Outlet for the “chance” to purchase them.

Translation: MK will get a lot more likes than it sells sneakers. Nearly 10,000 people had liked the offer only two hours after it was posted.

The price: $275.



  •  Maya Singer
  • October 12, 2011

Consistent excellence can be kind of a bore. Oh, Kate Winslet delivered a great performance? Shocker. What, Michael Lewis is publishing yet another book that will make you like reading about things you don”t care about? Well, duh. Insert your own example of tiresomely predictable terrificness here.

The danger reviewing Joseph”s collections, at least since the brand has been under the creative supervision of Louise Trotter, is that you”re tempted to hunt for negative things to say, just to keep things interesting. Well, here goes: This season”s collection, which riffs on military garb and old Katharine Hamnett, isn”t quite the tour de force that Joseph”s Resort collection was. It”s a shame to see the brand back away from print, for one thing; on the other hand, Trotter”s decision to emphasize neutrals now puts Joseph in fine, one-step-ahead company, alongside The Row and Givenchy. Not much of a complaint, really.

Better just to give up and acknowledge what”s good here: slick, lightweight parkas with neon piping, kimono-tied military-style tunics and shirtdresses, a chic evening jumpsuit with a wave of silk floating off the collar. And also, typically, lots of no-brainer shirts and trousers with modern, sporty silhouettes and a dressed-up mien. On-target business as usual, in other words.

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Jonathan Saunders

  • Tim Blanks
  • September 16, 2012

“The hardest collection I”ve ever done,” Jonathan Saunders declared after a show that continually tricked the eye but ultimately seduced the mind. As one of London”s original masters of the print renaissance, he feels he has to force himself into strange new places each season. Here, for instance, there were laser-precise stripes that defied comprehension. The silver and green combo, for instance—was it color printed on leather? Or laminate printed on fabric? Or both?

That ambiguous duality seemed like the essence of the collection, which also revolved around outfits that totally transformed front to back. The first look featured a nude second-skin top and a sci-fi metallic skirt. Both turned to reveal a matte black back. Later, there were a sensational red sequin cardigan and skirt that, viewed from behind, were all gray jersey. Or an almost-corsetlike top and skirt embossed with shiny green dots that died away to a lime-y matte in back. What was Saunders implying with such split-personality clothes? You could probably extract some interesting philosophical point about lubricious comings and decorous goings, and the fairy tales of first impressions. That line of reasoning might yield an appropriately sexual subtext. Saunders himself was, after all, keen to emphasize the up-for-it-ness of his new collection. The sneery, erotic grind of “Strange” by seventies art-punk icons Wire set the mood. Saunders said he was thinking about “a Michael Clark disco girl”—glossy lips; tousled hair; sequined, bias-cut slipdress; a wild child, but with a bit of art in her. He agreed she”d probably be someone like the girls in Antonio Lopez”s Instamatics, and God knows they are the fierce ruling divas of pop culture at the moment with the Lopez book, the New York exhibition, and the MAC collection.

Which proves that Saunders has an instinct for the moment. The graphic boldness and hard confidence of this collection had take-charge guts. There will always be something about a blouson over a bandeau that says bad girl, but recent political events in the U.S. have conspired to make it a practical necessity for girls to be “bad” in the face of male idiocy. Saunders has generously given them a uniform to triumphantly fight the good/bad fight.

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John Galliano

  •  Sarah Mower
  • March 3, 2007

It”s a vintage season for John Galliano—in more ways than one. At Dior, he celebrated the 60th anniversary of the New Look in high movie-star style. Then his own decadently staged collection returned to the romantic, excessive, eccentric hothouse scenes people so adored him for in the early nineties, complete with “vintage” Galliano bias-cut dresses. The notion of entertaining fashion audiences as guests and treating models like individuals has become such a forgotten art that the arrivals at the show—greeted with a cast of made-up Parisian street characters, overflowing dinner tables, potted palms, dogs, chicken coops, Turkish rugs, bordello couches, and an unmade brass bed—were instantly put in party mood. We were in Pigalle during the tens and twenties—the world of Kiki de Montparnasse and Brassai”s Madame Bijou.

And there were the girls, striking totally convincing attitudes, as if no one could teach them a thing about absinthe drinking or streetwalking. Who knew this supposedly blank generation of Sashas, Lilys, and Cocos had it in them to act up like a bunch of old-school supermodels? That, like the clothes, seemed a flashback to everything that made Galliano good in his first years in Paris. The theme sent him off on an orgy of costume reference (and self-reference) that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, gigantic leg-of-mutton-sleeved jackets, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his signature bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon.

The roll of credits included Stephen Jones” millinery, Pat McGrath”s makeup, Julien d”Ys hair, and Michael Howells” set design. All played crucial supporting roles in bringing Galliano gloriously back to full cinematic form. Was there anything new here? Well, yes, in the way the show touched the Poiret sensation of the season; then again, no—but perhaps that was exactly the point. If the early nineties are a reference point in fashion now, here was Galliano, bringing himself back for a new generation—and judging by the way those 20-year-olds got into it, they”re ready for every ruffle and cloche the man can throw their way.

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Michael Kors Shares Fall Despite Sales That Explode

michael kors bagMichael Kors

Shares of Michael Kors Outlet are lower in pre-market trade despite the retailer reporting earnings and revenue that crushed expectations.

For its fiscal first quarter, the luxury accessories maker earned $0.91 per share on revenue of $919.2 million, topping expectations for $0.81 and $851.66 million, respectively. Comparable store sales in the first quarter also surged 24.2%.

In pre-market trade, shares of Michael Kors Outlet were up 5% but have reversed lower and are currently down about 3%. 

In its first quarter earnings release, Michael Kors Outlet CEO John Idol said, “In North America, revenue increased 30%, with comparable store sales growth of 18.7%. In addition, the 30% growth in our North American wholesale segment reflects ongoing momentum in our brand as well as the continued benefit from our shop-in-shop conversions. In Europe, we were extremely pleased with our revenue growth of 128%, which was driven by a comparable store sales increase of 54.2%, as well as strength in our wholesale business. Lastly, revenue in Japan increased 89%, driven by comparable store sales growth of 48.8%.”

For its full fiscal-year, Michael Kors Outlet also gave earnings and revenue guidance that topped current analyst estimates.

Kors expects earnings per share of $4.00-$4.25, better than the $3.96 analysts expect, on revenue of $4.25-$4.35 billion which is more than the $4.2 billion currently expected by analysts. 

Jason Wu

  • Nicole Phelps
  • February 13, 2015

When Jason Wu was first starting out, fashion watchers liked to compare him to an upstart Oscar de la Renta. He was a precocious kid with his eye on the Park Avenue set. Over the years and after the one-two success of Michelle Obama”s inauguration gowns, Wu”s aesthetic shifted. The frills and the flounces disappeared; we haven”t seen a feather, once one of his favorite embellishments, in seasons. These days, if there”s a designer precursor for what Wu is doing, it”s Michael Kors, he of the souped-up, super-luxe sportswear.

An exacting tailor, Wu happens to be very good at sportswear himself. You won”t find better cut trousers than the high-waisted, cropped pair he sent out with a silk tie-neck blouse in the same shade of olive green. And you can”t argue with the sleek, streamlined elegance of his double-face cashmere coats. Other outerwear pieces were built with detachable linings, removable fur outer layers, or zip-off sleeves, the better to offer his clients variety and value for money. He”s also happy to satisfy their more indulgent side, the case in point being a sleeveless dress made from matte crocodile, or a very authentic-looking stamped leather.

There were beads and crystals, but because of their simple T-shirt shapes, his evening dresses retained the quiet, respectable feeling of the daywear. On the phone before the show, Wu name-checked Catherine Deneuve, noting, “There”s something definitely glamorous about it.” The belted fur coat that closed the show came closest to capturing Deneuve”s glam factor. Otherwise it was hard to shake the feeling that Wu was playing things too safe. The clothes were essentially faultless, but the show wanted for some of the drama and heat of real life.

For Tim Blanks” take on Jason Wu, watch this video.
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  •  Lauren Sherman
  • February 15, 2015

ICB is celebrating its 20th anniversary this year, and newly minted design director Makoto Takada is eager to further define the brand. Two decades in, why is that still a challenge? Because “20th anniversary” is a bit misleading. While the New York-based line, owned by Japanese retailer Onward Holdings, did indeed launch in 1995—with Michael Kors Outlet as head designer, no less—it was shut down in 2002, only to be resurrected 10 years later with Prabal Gurung running the show. Gurung departed late last year, although it wasn’t unexpected. He always spoke of ICB as being bigger than him: He was there to reestablish the brand”s identity, not make it his own.

That”s why Takada is such a good choice to lead ICB into the future. Two seasons in, he”s been able to take Gurung”s ideas and further refine them, adding a sprinkle of his own thing into the mix. For Fall he deconstructed the traditional ideas of winter dressing to great effect. The collection”s “sweater scarf,” for instance, was a crewneck sweater cut into a little cape that could be tied up around the shoulders. (It was worn over a white poplin shirtdress.) An alpaca ivory and charcoal coat was extra warm, thanks to a snap-in front placket that made it look like the model was wearing a matching minidress. And, while there were pieces in dyed rabbit and Kalgan lamb, there were also wool skirts and coats done in a trompe l”oeil to mimic the real thing. Takada was also eager to show off new fabrics the company has developed, including a crepe that is like a lightweight kimono fabric, and an air-infused material that”s akin to a lighter, more fluid neoprene.

Takada is enthusiastic about the work, and because of that, the clothes have a new energy. Saturday”s presentation, which took place in a studio that the team fixed up to look like a real-life New York City apartment, was notably cheery. Takada said they specifically tried to hire models that were friends so that the atmosphere felt congenial. “It”s really emphasizing who we are now,” he said.

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