His muse seemed to be Jacqueline Kennedy during her White House years.

The suits were pretty and ladylike, and definitely based on a vintage silhouette.

There were little fitted jackets with cropped sleeves and bell skirts, princess coats and soft empire-waist dresses.

The only things missing were the short white gloves.

But Jacobs didn't languish in the period.

His palette, fabrics and accessories turned the retro look into something modern.

He shied away from the happy pastels of Camelot and sent out clothes in navy and black, sometimes flecked with white polka dots, silver-dollar-sized paillettes or little mink pompoms, and sometimes paired with pale blue or white T-shirts.

His fabrics were clean and simple - including cotton flannel, silk twill, denim and jersey - and curious, like seal skin. And all were cut with a sure hand.

Jacobs knows exactly what he wants to convey through his clothes.

It was the details, however, that made the collection stand out.

For the opening passage of cavalry coats, the buttons were covered in mink.

The hats by British milliner Philip Treacy were Cossack-style, in raccoon and fox.

The footwear was sexy, sturdy-heeled leather lace-up boots that were surely made for walkin'.

And the bags - the original and main business of Louis Vuitton - were delicate and discreet, like the mini-monogrammed patent leather travel wallet, which doubles as an evening clutch.

It was another creative success that will surely woo customers and inspire knock-offs.

Louis Vuitton by Marc Jacobs

Louis Vuitton by Marc Jacobs

Louis Vuitton by Marc Jacobs

Louis Vuitton by Marc Jacobs