Michael Kors has made a case for the return of 2010s business casual at New York Fashion Week – complete with now familiar trend of capri pants, but accompanied by cropped-sleeve blazers and the high-low hem.Kors, 67, has spent more than four decades refining his particular brand of American style, focusing on clean tailoring without appearing overly precious, designed as much for a busy city street as a red carpet.His designs have been worn by some of the world’s biggest stars, from Michelle Obama and Nicole Kidman to Blake Lively, Jennifer Lopez and Zendaya. He is also familiar to audiences beyond the runway, having spent 10 seasons as a judge on US reality competition Project Runway, where his sharp one-liners became almost as recognisable as his clothes.Nicole Kidman in a custom burgundy sequined Michael Kors column gown at the Golden Globes (Alamy/PA)This season, however, was less about Hollywood glamour and more about the corporate wardrobe of the early 2010s that appeared to be on Kors’ mind.The first model emerged suited and booted in a long black blazer, worn as a dress with stark-white heeled boots and oversized circular jewellery.An all-black capri trouser suit followed, before a sculptural asymmetric black top and skirt established the collection’s predominantly monochrome palette.Capri pants have been slowly creeping back into wardrobes over recent seasons, and Kors appeared determined to cement their reign.The summer 2026 trend of capri pants still dominated the runway (Vincent Alban/AP) (AP)There were cropped trousers, knee-length skirts, three-quarter-sleeved jackets and slim knits layered over shirt collars – even the corporate midi dress made an appearance.But Kors then disrupted the black and white with flashes of saturated colour: coral red, marigold yellow and pea green appeared on shoes, handbags and entire looks.Vibrant pea green and bright red were standout colours on the runway (Vincent Alban/AP) (AP)Circles became a recurring motif. Models wore enormous round sunglasses and disc-shaped jewellery, while circular cut-outs punctuated dresses and tops.Perhaps most intriguing were small leather wallets suspended like pendants around the neck – perhaps this is a trend to come.Wallets on necklace chains may be the next big trend (Vincent Alban/AP) (AP)The bags themselves remained unusually sensible by recent runway standards. Rather than the microscopic handbags or enormous totes that have dominated most collections, Kors offered slim, medium-sized styles and traditional top-handled bags.There were also smooth pebble-shaped clutches for evening – another continuation of the collection’s fascination with curved forms.Kors is synonymous with tailoring, but this season the designer played with classic cuts, experimenting with garments cut away from the body, with asymmetric hems and strong, sculptural proportions.Cropped sleeves appeared on coats and jackets, while balloon hems brought volume to skirts.Sculptural bubble hems are here to stay (Vincent Alban/AP) (AP)Stripes later broke through the blocks of colour, appearing on skirts, dresses and preppy polo-inspired pieces.Leather neck scarves also appeared throughout, suggesting the bandana and skinny scarf trend that dominated summer 2026 may have staying power for another season.Floral embellishment provided another change of texture. Three-dimensional appliqué and oversized reflective discs covered otherwise restrained dresses and skirts, giving the clothes movement without abandoning Kors’ characteristically clean looks.Evening looks featured floral feathered applique (Vincent Alban/AP) (AP)The high-low – or “mullet” – hem was palpable throughout the collection, shorter at the front and dramatically longer at the back.Kors deployed it on several pieces, including a vibrant yellow dress, reviving a shape synonymous with the early 2010s at a time when the decade’s cigarette trousers, peplums and officewear are already undergoing a fashion rehabilitation.Slim tailored trousers, knitted vests and body-con midi dresses dominated (Vincent Alban/AP) (AP)Even the evening looks seemed entangled with the businesswear aesthetic. There were flashes of sparkle and daring cut-outs, but rather than relying on traditional red-carpet ready gowns, Kors created drama through asymmetric shapes, tactile embellishment and sharply cut silhouettes.It was a reminder of one of the designer’s longstanding strengths: combining the luxurious with the practical.American model Alex Consani closed the show in a black asymmetric high-low dress, before the models made their final walk to Harry Nilsson’s 1969 song I Guess The Lord Must Be In New York City.Alex Consani closed the show in a high-low dress (Vincent Alban/AP) (AP)Kors then ran onto the runway for his bow in his own enduring uniform: an all-black suit, black T-shirt and black aviator sunglasses.Michael Kors thanks the crowd at the end of his show (Vincent Alban/AP) (AP)Among those watching from the front row were socialite Nicky Hilton and The Real Housewives Of Beverly Hills star Lisa Rinna.The show fell on the 25th anniversary of the September 11 attacks.The Michael Kors label took to Instagram to announce it had made a donation to 9/11 Day, an organisation which encourages people to mark the anniversary through good deeds and community service, “to further their mission of turning remembrance into action”.For a designer who has repeatedly returned to New York as a source of inspiration, the collection was fittingly rooted in the city wardrobe – albeit one that looked suspiciously similar to a 2011 office.Capri pants have already made their comeback, but if Kors has his way, cropped blazers, corporate midi dresses and even the much-maligned high-low hem could be next.