It may be summer here, but in the land of Don Draper, it's almost winter -- November, 1964 -- and, baby, it's cold outside. Of course, the chill of New York autumn is nothing compared to the frost creeping around Don's heart, a coolness that surfaces in his stormy blue suit, his skinny, blue-striped tie and his thin attempt at a smile. Joan is also in navy, though the white folds of fabric on her bustline make her seem like the drill sergeant of a very glamorous marine corps (which, basically, she is). Compare this bluesy picture with the brief image of Allison, Don's secretary, who takes the blue cues from Don then turns them into something much lighter by sporting Judy Jetson aqua in every scene. (Look closely, and you'll see the same shade on the waitresses in the ham-scandal diner.)

Peggy Olson seems to have a hang-up, too -- for pussy bows. She wore them all last season, and now -- even with the new hair (shorter, younger), the new skirt (tighter, fuller), and the new illustrator (cuter, flirtier) -- she still can't relinquish her necktie. Last season, it was an attempt at being fashionable. This season, I think it's gone deeper: Peggy needs to wear a tie because Don, Pete, Roger, and Harry all do. And she'll be damned if she can't be part of that boys' club because of her clothes.

She also seems worlds away from the grown-up debutante whom Don Draper takes out for chicken Kiev. That girl is certainly pretty, but note the subversive touches that costume designer Janie Bryant gives her character: The necklace looks like an upside-down tiara and the dark netted trim on her borrowed dress recalls a blackened wedding veil. It's almost like this girl is a bizarro Betty. And she really seems to like Don, too -- which makes her parallels to Betty even stronger and sadder.

Actually, I take that back: I don't think anything could be stronger and sadder than Betty during Thanksgiving dinner. Her high-contrast floral suit hinted at the high alert of her emotions, and how appropriate that Betty's pattern was roses -- beautiful but laced with thorns. She's a major contrast to Don's hooker: a redhead with a fire-engine brassiere and a penchant for wearing pearls while engaging in JV S&M. You have to admit, that was kind of amazing. As was the underwear, which -- fun fact -- Janie Bryant and her team make from scratch for each character. (She says that actual vintage underwear has incredible design, but, at this point -- 50-plus years after it was created -- it's too delicate for the actors to actually wear.)

You may have missed Peggy's little hat in the "Sorry, I need to get people out of jail" scene, but it brings up an interesting point: By 1964, women's hats were shifting toward larger and shorter shapes. Think Jackie Kennedy's pillbox hat, designed by Oleg Cassini, vs. Audrey Hepburn's constant wide brims in Paris - When It Sizzles. Peggy's hat is gorgeous, but it reminds me of a very similar one worn by Bobbie Barrett in Season 2! It'll be more fun when fashion plate Trudy Campbell returns later this season (we hope!) so we can contrast her silhouettes with Peggy's and Joan's.

If you want to be current and bring a piece of Mad Men style into your own wardrobe, check out the colored pearls that Betty sports when Don comes to pick up the kids. They're a great size (too big = costume party, too small = nobody notices), very J.Crew (seriously, check their catalog for a similar style), and also very cute with a white T-shirt and jeans.

The last time we see Betty, when she's confronted by Don, she's not wearing anything modern. It's a wool-and-silk suit, perfectly proportioned, featuring a sweet satin ribbon and a nipped waist. But when the camera pulls back a bit, we get to see the monochromatic color of the outfit and we realize that Betty is also blue.