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How did this happen Nina Collins asked as she settled down to a lunch of miso soup and salad in downtown Manhattan last week. When did we get to this place where we spend $1,000 on a Fendi Handbags
The question was rhetorical. Not long ago Ms. Collins herself arrived at that place, succumbing, she confided a bit sheepishly, to a yen for a Marc Jacobs Handbags styled like a saddle bag from Mulberry, a British luxury brand in high demand at stores like Barneys New York and Bergdorf Goodman. The price, about $1,200, struck her as an affront to reason. But she had to have it.

In buying the Jimmy Choo Handbags Ms. Collins, a literary agent, joined an ever widening circle of status-driven, selectively acquisitive consumers whose purchasing habits have buoyed the luxury market this year – steeper gas prices, inflation and a weakened dollar be damned. A sense of optimism, which industry executives and analysts say is being fueled by a strong stock market and a desire to trade up without regard to price hikes of 20 to 35 percent over a year ago, has propelled shoppers to stores in ever greater numbers.

In their pursuit of the season’s most coveted bags, many are giving common sense the slip, parting with, say, $975 for a best seller like the Marc Jacobs Sofia bag, which which last fall commanded $895, or $1,445 for a leather Prada bowler bag that, a few seasons back, cost $940 or $990 for similar models. Shoppers’ infatuation with Marc Jacobs Wallets has lent that category significant clout, to the point, retailers and industry analysts say, that bags have supplanted shoes, jeans and even jewelry as consumers’ choice signifier of affluence, social standing and hipness. Never mind that some models, in the battered and fringed styles now popular, look as though they belonged to a tramp.

It seems that each year what we’re seeing in the women’s fashion luxury market there has been a migration from one category to the next, said Marshal Cohen, the chief retail analyst for the NPD Group, a market research firm in Port Washington, N.Y. A few years ago it was shoes. Last year it was jeans. This is the year of the Mulberry Handbags.

Handbag sales, which were $5.34 billion in 2003, were projected to climb 8 percent for 2004, the latest figure available from Accessories Magazine, a trade monthly. Women who bought bags last year spent on average only $40 to $65, according to NPD. Ultra-luxury designer Fake Handbags – from $650 to about $15,000, which account for an estimated 5 percent of the market – are important because the designs invariably filter down, setting the trends for the mass market.

One reason for the rise of these bags is that the rest of fashion has moved toward a more dressed-down look, so that even jeans may be appropriate for a dinner party. A four-figure bag imparts the corrective message I am not a graduate student. You can go out with blue jeans and cowboy boots, and that high-priced bag makes it all O.K., said Cece Cord, a social figure in New York who sells her crocodile handbags at Bergdorf Goodman. A Replica Handbags is sort of like a portable house. It represents you.

Luxury analysts say the new handbag aficionados aren’t necessarily middle-aged or rich, and that some may defer other purchases in order to splurge. Bags are selling to women in a wider age range than we’ve ever seen before, said Dana Telsey, a retail analyst with Bear, Stearns, citing customers from their 20’s to their 60’s and 70’s. The youngest are willing to make a tradeoff, Ms. Telsey said. Maybe it’s their lunches. Or maybe it’s their living quarters. They’d rather wear their paycheck.

Pamela N. Danziger, the president of Unity Marketing, a consulting firm specializing in the luxury market, maintained that the majority of women buying luxury bags tend to be younger than 40 and to earn from $50,000 to $75,000 a year, or in rarer cases just over $100,000. Those women are the most likely to be extravagant, said Ms. Danziger, the author of Why People Buy Things They Don’t Need (Dearborn Trade, 2004). The tend to sacrifice vacations, restaurant dinners and other designer fashion in favor of a luxury Louis Vuitton Handbags. They are the consumers who have something to prove, she said.

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Rely on these gifts, we smooth the way a lot of reading, the mother also reduce the body burden of a lot. Years later, we test out, into the city. When I was giving birth, the mother wished, start with the grandmother. Children three years old, my husband and I divorced, I award my Bally Handbags daughter insists. That night my tears lamenting the fate of those years my mother and I are so similar, I said to my mother, my mother, my life was hard. Mother night crossing a white hair, she smiled, what a great, we do not have survived so hard yet?

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THE Fake Handbags news of last week — Dow plunges, global markets slide — seemed at perfect pitch with the startling geometry that emerged as the main headline for the spring 2009 ready-to-wear collections. The new clothes are not merely bold and graphic, like the dizzying circles at Marni, the dazzling stripes and checks at Dries Van Noten, or the cubic shapes at Calvin Klein, but they also have about them a sense of confusion.
It’s as if you were Matisse sitting in your bed with a big pair of scissors (O.K., you’re not Matisse, but you have the scissors) and were to cut from the newspapers the headlines and pictures of bank towers and digital ticker tapes and arrange the cuttings in a collage, overlaying them with images of Depression bread lines and Modernist teapots, adding here and there examples of new Replica Handbags and materials — you might then have a feeling of the exuberance, bold patterns and congestion of the spring fashion.

Design is an intuitive process as much as it is a reactionary one, but ultimately the most interesting fashion reflects the times. By fits and starts, designers have been moving away from romantic clothes, which may be why many of the New York collections looked nice but superfluous. Whether astute designers like Marc Jacobs and Raf Simons at Jil Sander felt the economic vibrations, they plainly made the connection to the late 1920s and early ’30s, and the merging influences of modern art, functional design and an African aesthetic. The silver spearlike earrings at Jil Sander could have been based on Brancusi’s “Bird in Space,” but so, for that matter, could the lean, agile silhouette.

For all the economic heaviness weighing on retailers, the Prada Handbags were incredibly uplifting — and that is not hype to sell clothes. The point to extract from the shows, and the source of the optimism, is that one saw the most innovative designers attack the postmodern formulas. Given the possibilities of digital technology for printing, laser cutting and the structure of new fabrics — to hold shape, to suggest nudism without nudity — it is not surprising that some of the techniques defied description.

But it is interesting that so many good designers were on the case. There were the geometric, mobilelike dresses of Christopher Kane, the miniature portholes on dresses and trousers from Proenza Schouler, and the molded hand-painted dresses of Hussein Chalayan that ingeniously evoked the physical sense of speed. Alexander McQueen’s digitally engineered prints of crystals and skeletons served as a kind of body map.

Speaking of second skins, the leotards and tights at Balenciaga lent a different graphic element to Nicolas Ghesquiere’s iridescent dresses and grid-pattern jackets. But this time the inventive designer may have overreached. The problem is very close to one the architecture critic Lewis Mumford raised in a 1936 essay. Referring to the best modern buildings, he said they were “extremely quiet and self-obliterating. They have a way of saying, ‘You first’ instead of interposing their masses and planes between the user of the building and the spectators.” That is good advice for fashion Prada Wallets.

Jackets also look more graphic this season, in line and detail. Probably no single article of clothing received more attention from designers than the jacket, suggesting a kind of revival — and, perhaps, a moment to invest in something special.

The standout example in Mr. Jacobs’s collection vaguely resembles a men’s waistcoat with structured cap sleeves. The Alexander Wang Handbags is wrapped with a soft belt. At Louis Vuitton, the jackets are pure Parisian: smart, nipped-waist, typically in contrasting fabrics. The proportion works with short skirts and almost any trousers, and since the styling is classic, you can put the jacket away after a season or two and bring it out later for a second run.

Another keeper is Jil Sander’s draped-back jacket in wool crepe; from the front it seems a chaste bit of minimalist design. The back, though, sends out more seductive signals. Other jackets worth looking at are Mr. Van Noten’s loose-fitting blazers, Stella McCartney’s easy boyfriend jackets with elongated lapels and Ralph Rucci’s new relaxed suits in silk faille with a slightly full skirt.

The number of collections inspired by African traditions may be a reflection of politics, as well as a demand to see more models of color on the runways. Results were both fantastical, in particular Ralph Lauren’s safari outfits and beaded harem pants, and innovative. The best interpretation came from Junya Watanabe, who used what appeared to be local market prints to make blousy or ruched tops that were shown with Bally Handbags recut from jeans. Mr. Watanabe used his modernist patternmaking skills to make the prints seem fresh and appealingly urban.

Africa surfaced in other ways: in some of the textures and patterns at Oscar de la Renta, in the palette and kitsch stilettos at Dior, in the ostrich-feather skirts at Louis Vuitton, and in Azzedine platforms bristling with raffia fringe and adorned with tiny shells.

American designers loved the jumpsuit, but while the look appeared in European collections (Stella McCartney), Cartier Handbags was outfoxed by shorts. By making them in graphic checks, and giving them a bit of air, Mr. Van Noten made them irresistible, even to women who think they look a little too cute. There are rolled shorts, bloomer shorts and droopy long shorts (at Saint Laurent).

The coolest look, though, are the slim black shorts cut almost to the knees. If you drew a six-degrees-of-separation chart, all arrows would point to one collection: Mr. Simons’s spring men’s wear show, where a kind of bicycle short was integral to his stripped-down tailoring. In their women’s collections, Mr. Jacobs and Narciso Rodriguez showed good-looking black suits with trim shorts.

One spring look that is compelling beyond all reason is the apron. Actually, aprons come and go in fashion; about every five or six years, designers have a mom or a sexy maid fetish, and the rest of us share their pain. But there is something interesting about the Louis Vuitton Handbags. Miuccia Prada used it as a kind of half skirt over cotton shorts; in her Miu Miu show, a pleated version seemed a graphic element to slim burlap and satin dresses.

But it was Mr. Jacobs who, again, made the connection to the 1930s, when hard times radically changed women’s lives and roles. At the height of the Depression, department stores promoted the modern designs of Gilbert Rohde and Russel Wright, while Emily Post offered tips on entertaining. Mr. Jacobs saw a new function for the pop-over apron, as a kind of chic tunic with a sash belt. The question now is where stores have the means to promote such different dreams.

Thirty minutes before the start of the Prada Handbags show, the models were lined up and waiting. Mr. Jacobs, in a formal mood, was wearing a three-piece suit but had removed the jacket. Out front, where the floor and specially built walls were covered with brown cardboard, giving the aura of a giant box, guests milled around. The photographers, without celebrities to snap (none had been invited) were like chickens idly pecking around a barnyard.
And so all was calm at Marc Jacobs, in contrast to previous seasons when the scene was part of the fun, crushing or not. Then, too, Mr. Jacobs was interested in Prada Wallets, involving a set, and afterward journalists would troop backstage to unearth the meaning.

On Monday night, though, the music was a remix of “Over the Rainbow,” from “The Wizard of Oz.” That’s only worth mentioning because a number of puff-sleeve dresses, and the Alexander Wang Handbags with anklets, pointed to Dorothy. The rest of the show needed no explanation.

“Did you like it?” Mr. Jacobs asked guests backstage. “It’s beautiful, right?”

Yes, Mr. Jacobs, Bally Handbags was beautiful.

Part of the tug of “Over the Rainbow” is that it’s an American ballad, written by E. Y. Harburg, known as Yip, and that seemed to be Mr. Jacobs’s idea — to create a buoyant Cartier Handbags collection.

His timing couldn’t be better. American style is the subject of this year’s major costume exhibition at the Metropolitan Museum of Art, opening in May. And by banishing celebrities from his front row, at least for now, Mr. Jacobs has pointedly returned the focus to the clothes. Fake Handbags has been a complaint about American fashion — that it has been sidetracked into celebrity, parties and co-branding deals. What about its great tradition of innovative design?

If the spirit of American fashion is modernism, Mr. Jacobs seemed to approach that ideal in at least two ways — through a neutral palette, with flashes of bitter yellow, that evoke modern interiors free of Old World clutter, and in the modest, relaxed line of the clothes. The majority of the Replica Handbags, in wools and double-faced cashmere, were A-line and hemmed below the knee. A sleeveless taupe blouse with a streaming sailor tie appeared with a wool kilt in a slightly warmer tone, the wool cut in window slats and inset with chiffon. By raising the center of a peacoat and pinching the back, he gave the classic shape a new, flattering silhouette.

Probably he has shown pantsuits before, but two in putty gray looked just right. The collection was loaded with fur, piled at wrist and neck and sometimes treated as a top, but Louis Vuitton Handbags also appeared in a checked pattern for a plain shell and rounded skirt. You’d think it was tweed.

A trip to a Texas border town, seeing factory employees walk to work half asleep, gave Kate and Laura Mulleavy of Rodarte the concept of a young woman dressing herself in the dark, using short and long lengths of fabric, washed-out florals and highly textured knits that also looked haphazard.

Yet, while some of the constructions were beautiful, the concept rapidly wore thin, and perhaps it was not developed enough.

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