Last week I wandered downtown on one of the steamiest days of the year, primed for a debacle. Not only was I predisposed to hate the clothes, but the fall 2005 collection was savaged by many fashion critics as too dark, too funky. (And his runway show famously started two hours late.) There were too many baggy skirts and big Yves Saint Laurent Handbags and too few of the sophisticated, sleek urban pieces Mr. Jacobs had favored in the past.

At 11 a.m. I knocked on the large wooden door of the store on Mercer Street – I had arrived at opening time – and was admitted by a smiling young woman with a dazzling shock of orange hair. For eight years the Mercer Street store has carried Mr. Jacobs’s signature collection. Two boutiques on Bleecker Street sell his less expensive Marc by Marc Jacobs line. The Mont Blanc Wallets is airy and light. About a third of the space is given over to men’s pieces. I liked the men’s cable-knit cashmere sweater with a shawl collar. It was very professorial, but at $2,345, no professor I know could afford it. The orange-haired saleswoman let me be, and I wandered to the women’s clothes.

They were – I was shocked – really beautifully made clothes. Elegant and bright and polished. Some of what might have been the more controversial runway pieces – the long skirts that were more or less egg-shaped and which had prompted some critics to describe the line as the “pod people” collection – were nowhere in sight. Nor did I see the oversize floral-print dress with ruffles, which Mr. Jacobs showed with patent leather Mary Janes, and which, if it ever makes Designer Replica Handbags onto the body of an actual celebrity, will appear in Us Weekly’s Fashion Police column along with a comment like “I liked this better the first time I saw it as a Ramada Inn bedspread.”

There were some pieces that had been criticized as slightly outlandish – a taupe-ivory tweed skirt with black ribbon detail, for instance – which was thought to be unnecessarily voluminous. When I tried Fake Handbags on, I saw that voluminous and outlandish on a runway model looks about right on city streets. Cropped metallic tweed jackets with three-quarter sleeves reminded me of the Los Angeles designer Barbara Tfank’s short jackets made from vintage fabric: the combination of tweed and metallic threads is prim but sexy, very Eva Marie Saint in “North by Northwest.”

Vogue reported that the collection was inspired by the Tim Burton film “Nightmare Before Christmas” and the gloomy character Violet from “The Incredibles.” If that’s the case, then a sleeveless wool dress in black and gray and blue was the superheroine dress. It was streamlined and slender, with a brilliantly colored panel flouncing out from the hip. I wanted to try it on, examine the seams, feel the smooth wool.

The saleswoman appeared and looked me coolly up and down. “So, you’re a size 2?” she said. Well, that was better than the Friday night last summer when I got carded at a T.G.I. Friday’s in New Hampshire. I tried on a size 8. At $2,500 it tipped the scales of financial propriety. At the same time Replica Handbags fit beautifully. I put it on hold. (Wishful thinking.) A low table of accessories, long Mr. Jacobs’s strong suit, beckoned. Although I can picture someone throwing a fur stole ($1,500) over her shoulders, I can’t imagine anyone wearing one of the huge hats with earflaps without looking like a giant hirsute Q-tip. On the wall rows of shoes and handbags were theatrically lighted.

On a sweltering August day I didn’t expect to see many other customers, but two young women who seemed to know every item in the store walked in and gazed at a pair of velvet peep-toe pumps (very popular and already selling out) with intense longing. A new series of handbags is quilted in the style of Chanel; the small quilted version has a gold chain handle. Hello, Coco. It sells for $725. A bright turquoise-green alligator bag was about $4,000.

“And it’s great because that’s the natural color of the alligator itself,” a salesman joked. The most expensive purse wasn’t even on display. The saleswoman brought Louis Vuitton Handbags out for me: in purple python, it sells for $9,000. I did buy a Venetia satchel, at $975, in taupe with a bright pink suede lining, as a long overdue thank-you present for a friend. (I owed big thanks.) The cheerful saleswoman wrapped it up in a large hatbox as Elvis Costello sang, “What’s so funny ’bout peace, love and understanding?” I may have to watch “Lost in Translation” again.

Many editors and retailers must have found themselves writing the same thing in their diaries: “granny.” Had the ladylike fashions so prevalent in the early part of the decade already been replaced by old-lady-like fashion?

Besides chiffon there were other signs of a shift in the fashion winds toward looks conventionally thought of as matronly, which are sure to challenge retailers when the clothes arrive in stores next spring. There were dresses that fell awkwardly at the calf (Tuleh), white cotton gauze dresses that looked like flannel nightgowns (Proenza Schouler), silk blouses with working-girl bow ties (Oscar de la Renta) and pesky slips peeking out from beneath skirt hems, not to mention knee-high stockings (Marc Jacobs). Perhaps the most convincing call to the elderly citizen set came from Max Azria, the designer of BCBG, who trimmed his chiffon gowns – caftans really – with Prada Handbags.

“We support all kinds of chiffon,” Kal Ruttenstein, the fashion director of Bloomingdale’s, said, putting a positive spin on the matronly look of things. “Bally Handbags seems to be a very ‘wanted’ fabric in a lot of ways.” Mr. Ruttenstein was speaking on Monday night as he waited for the Marc Jacobs show to begin, which, in the view of many, is the real start of the fashion season, following the annual regurgitation from younger upstart designers still reacting to Mr. Jacobs’s designs of the previous seasons. But chiffon was already on Mr. Ruttenstein’s mind, and he didn’t see anything old about it.

“Nothing looks prettier than pale chiffon wafting down the street on an attractive woman,” he said. Another image that came to mind, at least when Behnaz Sarafpour showed her version of the drawstring chiffon top on Tuesday, was the cast of “Mama’s Family,” the 1980’s sitcom about a crotchety widow in rolled stockings. A silk animal print sundress worn off the shoulder had Mama’s daughter-in-law Naomi Oates Harper written all over Cartier Handbags ; the lace doilies draped over other models’ shoulders and the dickeys around their necks looked as if they were borrowed from the wardrobe of a preacher’s wife.

This little Fake Handbags, or crinkle, in style may not be the most appealing way to describe a fashion direction that is at once an evolution of the trend toward dressier clothes inspired by the luxury boom, and also a reaction against the bohemian looks born in recent seasons on the street. No designer wants to hear his or her collection described as matronly.

The use of such old-fashioned Replica Handbags has a lot to do with the success of a band of designers working in Paris: Alber Elbaz at Lanvin, Phoebe Philo at Chloé and Olivier Theyskens at Rochas. Elements of their recent collections have evolved into a regular formula of ingredients for some of those now working in New York, the world capital for giving artistic fashion a commercial appeal.

The more appealing, and youthful, of these Paris-inspired designs are the ones in which the designers have experimented with new shapes and proportions, with ballooning skirts and cocooning coats and waistlines that are as high as those of the Empire or low as a flapper’s, now reinvented with a drawstring at the hem and neckline to create a Louis Vuitton Handbags.

What’s your name Kalman Ruttenstein, the fashion director of Bloomingdale’s, said in Italian as his longtime driver, Enzo, braked to a slow stop, and Mr. Ruttenstein rolled down the passenger window to greet Cleopatra, who was wearing a pierced leather miniskirt, thigh boots, a bustier and a fur jacket draped in chains.

My apartment is nearby, Cleopatra said in Italian. Do you want to see Fake Handbags No, grazie, said the ever-courtly Mr. Ruttenstein, whose interest in Cleopatra was strictly touristic. But I think you look really chic tonight.

The fashion cycles that consume so much of people’s lives in a business that never stops and rarely slows are often, to be frank, pretty deadly. As the Bravo hit Project Runway amply demonstrates, fashion is not as glamorous as Designer Replica Handbags is cracked up to be. (Bitchy, silly and clueless, yes; also passionately creative and startlingly remunerative to roughly one in a million who take it up.) Yet there are those in the field who manage to infuse their life’s proceedings with a sense of adventure, and also to maintain a sociologist’s amusement at the folkways of the industry. Mr. Ruttenstein, who died Dec. 8 at the age of 69 from complications of lymphoma, was one of such people. Perhaps, as his eulogists suggested on a cement-gray day last week at a memorial program at Carnegie Hall, he was the last.

More than 1,000 people gathered, among them some of the most recognizable names in the business. Mont Blanc Wallets was there, as were Ralph Lauren, Tommy Hilfiger, Helmut Lang, Diane Von Furstenberg, Vera Wang, Marc Jacobs, Sean Combs and Michael Kors. Few of these people would ever have been seen in the same room under ordinary circumstances.

Mr. Ruttenstein was a merchant of the old school. He had a Princeton degree and a Columbia M.B.A., but his real education was in the trenches of retailing, in the days when careers could be made on finding a single hot item (rhinestone jeans did it for Mr. Ruttenstein), when American stores routinely copied European designs line for line (Mr. Ruttenstein was the fastest knockoff artist in the business, Ms. Karan said), when labels were still worn inside clothes, and when people actually (this seems hard to believe) waited with excitement to see what act of outrageous theater the window dressers at Lord & Taylor, Bloomingdale’s, Bonwit’s or Yves Saint Laurent Handbags would whip up next.

There were department store chains then, of course, but not the 800-store conglomerates we now know. And the improvisatory nature of the business reflected that, as well as the reality that the American rag trade had not yet substantially moved offshore. Thomas Wylde Handbags was smaller. It was more plausible for a fashion-obsessed kid like Marc Jacobs, as he explained on Wednesday, to know the name of every important designer by 13, of every important retailer by the age of 16 and to be clear that if he planned to succeed, there was one person he would need on his side.

Mr. Jacobs was lucky. Mr. Ruttenstein took him up. They became and remained friends for decades, a friendship that survived Mr. Jacobs’s firing from Perry Ellis for producing his maligned grunge collection in 1992 (now generally judged prophetic and misunderstood) and throughout his battles with alcohol and drugs. That his Mulberry Wallets ultimately achieved great success did not really surprise Mr. Ruttenstein, who was well known as a mentor, but also as someone who knew where to place his bets.

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The wealthy women wore silk stockings in dark colors and handmade shoes and boots with pointed toes and a two or three inch heel. Silk or fine kid was used for the Christian Louboutin Boots styles with buckles or bows as decoration and that completely matched their whole outfit.

Men were pretty much gussied up all the time. Evening attire was worn at all formal occasions after seven o’clock and consisted of coats shaped at the waist with tails cut at an angle and full trousers or dinner jacket/tuxedo made of vicuna or dress cloth.

Tuxedos were worn even in the summer at hotel hops, ordinary evening entertainments in the country and all other most fashionable watering holes. Christian Louboutin were white, gold or pearl buttoned, collars attached or unattached and finished off with a big top hat or derby.

As stated in the previous decade men’s shoes basically remained the same with little variation throughout the many decades ahead. This decade is no exception. Colors expanded at bit to include brown and gray to go along with the must have black and toes came in a variety of styles including pointed, rounded and ovals.

Yes, you guessed it. Another war, damn it. But this time it was the “war to end all wars”. Hah! That would almost be funny, if it weren’t so sad. World War I forced women to take jobs once held by men such as ambulance drivers, streetcar conductors, elevator operators, wireless operators, and factory workers.

But besides the war to end all wars, there were great changes taking place in America mostly due to the social problems with the poor and middleclass. Labor unions were formed to fight against unsafe working conditions and child labor laws. The minimum wage was passed. There had to be changes considering the sad fact that 20% of all children in cities were undernourished, undereducated and over worked.

Yes, I said OVERWORKED. Women were striving for equality and the right to vote. America became highly industrialized, Christian Louboutin Shoes were mass produced and pop culture flourished. The titanic sank and the first moving assembly line began in 1914. Sports became more popular. And dancing the Bunny Hug, the Castle Walk and the Tango. Silent movies!

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