(Warning: it’s the end of fashion week and I’m sleep deprived and sappy and here is my love letter to Michael Kors.)

There are certain things that make you love New York because they’re just so New York. Like a perfectly timed subway transfer, taking in an old movie at Film Forum, flagging down a dim sum cart at Golden Unicorn, digging into a pastrami on rye at Katz’s, or a Michael Kors runway show. Especially his fall 2011 collection, which also happens to mark his 30th anniversary in the fashion world.

To celebrate his 30 years in the biz, Kors sent out a collection that embodied his brand of effortless, casual glamor, though there was an emphasis on the ’70s to be sure. Donna Summer’s “I Feel Love,” was the soundtrack, and there were disco sparkles and draped jersey dresses that hinted of Halston.

In an intimate room inside of the Soho Grand Hotel last night, we got a chance to sip some champagne and check out NYC-based Yestadt Millinery’s Fall 2011 collection of quirky hats.

A wide assortment of different shapes, colors, and materials were used in the collection, but the 70′s Western and neon trends of the moment were a common theme. Novelty items like fedoras were accented by a hot pink ribbon, a slight ombre creating a shadow effect, and felt cat eyes and whiskers, that they think will do well in their Japanese market.

In a strategic move last month, Yigal Azrouël showed his men’s collection in Paris instead of New York. But it was yesterday’s women’s show that really told how much menswear has been on his mind:

For fall, Yigal’s girl is running with the boys, in tailored pants, tuxedo jackets, heeled loafers, and even bow ties. But that girl is doing so with a fistful of RIT dye, coloring the separates in cobalt, tangerine, emerald, and bubblegum. The result falls somewhere in a Venn diagram overlap of “girly menswear”, a sweet spot for smartly styled Hollywood ensembles and many a Teen Vogue editorial.

Karen Walker’s AW11 show was her toughest yet. Inspired by working a class dance club in Northern England, Wigan Casino (where the dock workers went to boogie for the weekend), Walker’s peachy aesthetic received a touch of edge. The palette was considerably less saturated than most Walker showings, with black, navy, grey, dusty rose, and white as the main colorway, plus added hints of teal, cobalt, orange and red towards the show’s end.

The Hervé Léger show feels more like going to a rock concert than a fashion show. Showgoers are like groupies who all wear their concert tees (read: bandage dresses) to see their favorite designer live. This season, Max Azria’s crafted “inimitable suit[s] of armor.” The signature body-con dresses were in a neutral palette of beige, brown, black and white but adorned with gold hardware, silver chain, and leather harnesses. And while there were plenty of skin tight silhouettes, a flouncy A-line skirt was introduced to the mix, and there were even, gasp, a few pairs of pants. Max Azria front row pet Leigh Lezark was there, as was Karolina Kurkova, looking stunning as usual.

Reed Krakoff naysayers, take heed: Each season, the collection gets better. And each season, Krakoff becomes harder to ignore.

You might not like how easy it’s been for him, but you’ve just got to get over it. He’s built Coach into a global power brand; are you really that surprised that he’s got great personal taste, too?

Styled by Edward Enninful, the first thing we must consider about the collection is the football shoulders. Most pieces–from a grey wool felt coat to a breezy chiffon dress in burgundy–boasted rounded and loose shoulders, a silhouette that is easier to pull off than it looks. (It adds balance to a full bottom and elongates legs.)