The fashion weeks of Paris and New York often represent opposing views of the season’s trends. When New York shows miniskirts, Paris shows trouser-suits. When Paris couturiers focus on grownup glamour, New York designers take their inspiration from teenage surfers. For Fall 2005 however, the two were strangely in sync. The same themes that popped up all over Bryant Park – turn-of-the-century empire gowns, 1960s coats, bulky layers, velvet skirts, voluminous shapes, and lots of black – were also ubiquitous in Paris. Perhaps the world is getting smaller after all.

John Galliano has toned down the almost clownish, in-your-face sex appeal that used to be his signature look for Dior. Last season, he took a style U-turn, venturing into timid school-girl territory, and for Fall 2005 he continued on a similarly youthful and modest path, conjuring up images of coltish 1960s It-girls such as Twiggy and Penelope Tree. The collection seemed to be divided into three parts. In the first, Mr. Galliano worked a black-and-white Op-Art theme with striped mohair sweater dresses accessorized with knee-high boots; the second act was dominated by aviator-inspired leather outfits that channeled Amelia Earhart; and the finale was a flurry of clingy, bias-cut siren gowns that usually show up on Charlize Theron at the Oscars. The collection may have lacked some clarity and vision, but it was nice to see Mr. Galliano charting different territory than sky-high stilettos and endless displays of flesh.

Olivier Theyskens is emerging as the fashion star of the decade. His ethereal and splendidly tailored collection for Rochas had the most hardened fashion cynics misty-eyed. “Rochas was soooo beautiful,” was one of the most overheard sentences in conversations throughout the week. So what was so great about the collection? Perhaps it stemmed from Mr. Theyskens’s ability to take historical references and make them his own. His use of innovative techniques never looks overwrought, and his retro silhouettes have a modern freshness while exuding an old-fashioned sense of mystery. For Fall 2005, Mr. Theyskens sent out slender Edwardian gowns rendered in either black or washed-out pastels and adorned with slim layers of skinny, shirred ruffles. Brown butterflies fluttered over the pale fabrics, and the opulent evening gowns displayed tiers of fuzzy mohair lace. It was a collection that will be remembered for years to come.

Another designer who excels at creating subtle yet completely original remixes of vintage styles is Lanvin’s Alber Elbaz. Although this collection was more simplified and streamlined than his usual luscious repertoire, tiny details such as a shifted seam here and an elongated proportion there gave the clothes a unique and sophisticated look. In a season where so many designers have sent out oversized smock dresses and clunky coats, Mr. Elbaz did just the opposite. He worked around a classic Parisian silhouette of nipped waists, trim tops, and just-above-the-knee hemlines, and managed to give a trench coat a fresh twist by shaping its bottom into a slim pencil skirt. A sheer tulle blouse received a fanciful treatment with a large Pierrot-like knot, and a velvet tulip skirt had a slight puff in the back that made it interesting. As usual, Mr. Elbaz worked with a rich and seductive color palette of lush, glistening fabrics. Tomato-red velvet, midnight-blue satin, and violet rhinestone-studded tulle floated by in perfect harmony.

Over at Louis Vuitton, Marc Jacobs took the basic ideas from the signature collection he showed in New York in February and gave them a lighter and more digestible makeover. This kind of crossover is unusual for Mr. Jacobs, who usually keeps the two labels very much apart. But one could sense that he was onto something deeply personal in last month’s dark and brooding presentation, so perhaps it makes sense that he would mine a similar theme for the French house. But this time around, the audience was more receptive to dark and heavy garments such as bubble-shaped Balenciaga-inspired coats and calf-length wool skirts. This was probably because Mr. Jacobs had trimmed down the layers and volume in favor of tailored and feminine shapes. For example, instead of heavy floor-length gowns and exaggerated smocks, the evening looks featured lightweight empire-waist dresses with knee length skirts and pretty touches such as tulle overlay and gleaming beads.

Another New Yorker who has made his way to Paris is Patrick Robinson, who presented his debut collection for Paco Rabanne over the weekend. Mr. Robinson is an interesting choice for the house. He was previously the creative head of Perry Ellis, whose history of classic sportswear is pretty much the polar opposite to Mr. Rabanne’s legacy of experimental glam wear. Wisely enough, Mr. Robinson chose not to riff on metallic discs and plastic minis, but instead continued on the path he started at Perry Ellis. Which meant creating intricately tailored, feminine, and romantic clothes for uptown girls. While that look apparently was too complex for the American label, it might be just what the house of Rabanne needs. The company has struggled to stay relevant in recent years, and Mr. Robinson’s clothes should open up the label to the American market. His sensibility of easy elegance is unmistakably American, and the mostly black-and-white collection of geometrically ruffled silk dresses, empire-waist gowns, dolman-sleeved blouses, and tiered tulip skirts was very close to what was happening in Bryant Park last month.

In contrast, one label that seems to strive for utter Frenchness is Yves Saint Laurent Rive Gauche. This season marked the sophomore effort of Gucci alumnus Stefano Pilati, who appears to be making every effort to turn the label back to its 1970s heyday. The collection was built around the kind of bow-tied blouse, skirt, and wide-waist belt ensembles that spell out YSL chic. The sober and modest mood that has dominated fashion this season was also obvious in Mr. Pilati’s heavy emphasis on gray, brown, and black shades and the covered-up silhouettes. But the evening looks were more frivolous. Sheer and loosely draped chiffon gowns in yellow, white, and blue were sexy and extravagant, and long empire-waist dresses in contrasting fabrics were striking and glamorous (although a couple of ruffled A-line frocks with puffy sleeves looked straight out of “Whatever Happened To Baby Jane?”). But overall, this collection was focused and smart enough that Mr. Pilati is likely to seduce even the most diehard original YSL supporters, who have been complaining ever since Mr. Saint Laurent’s departure in 1999. Perhaps then Mr. Pilati can take the liberty to turn his gaze away from the label’s past and start looking forward.