NEW YORK -- Menswear, which has been on a dressier road in recent seasons, appears to be merging onto a new road next spring.

And the view ain't pretty.

Actually, the problem is, much of it is pretty.

Carlos Campos provided the first and most vivid glimpse of the trend during the first day of Mercedes-Benz Fashion Week when he sent out a collection featuring abbreviated and fitted shorts, scoop-neck sweaters in canary and turquoise, skinny pants in white and lilac, sweaters and jackets in feminine shades of purple, short Riviera scarves tied snugly about the neck and suits that appeared two sizes too small.

We don't even know where to start.

How about with the shorts? The cruise and deck styles were too snug, but even those in a handsome cadet blue wouldn't appeal to all the fellows who appreciate a little breathing room.

We get the point about the slimmer, trimmer, European-cut suits, a point that has been hammered home in the past couple of years. But well-fed American men prefer trouser hems below their ankles and suit jackets over their behinds. Mr. Campos' cropped suit coats were cut halfway down the derriere, an unflattering, distracting height, and out of the question for a man with a rump of any discernible size.

Watching the procession of undersized pinstripe suits and tuxedoes go by gave one the distinct impression that these were garments designed for men trying to dress like women trying to dress like men. Confirmation came when edgy, boyish-looking model Omahyra strutted down the catwalk to close the show in a suit that looked as if it had been taken off one of the male models -- the only difference being that it looked good on her.

Mr. Campos seems to have lost sight of the fact that he's designing for American men. Men who don't want to bust seams when they sit down or reach for anything. Men who fear color and have definite, if unenlightened, views about which are for guys and which are for gals. Men who don't know what to do with a necktie, let alone some dainty scarf squeezing their Adam's apple. Men who like blinding-white shoes only if they're sneakers.

Still, there were some handsome, wearable pieces in the line, such as gray leather flight jackets, an oyster gray wool-cashmere suit, a limestone trench and a stylish aubergine pinstripe suit. And a number of items were painted in handsome shades of blue, the favorite color of most men.

Mr. Campos notes that his first line, Guido, has been worn by entertainers such as Justin Timberlake, who still appears to be struggling to find an authentic and attractive fashion voice. The designer said this latest line "is about combining classical styling with a witty twist of '80s extravagance. ... This is for the new generation of the rock 'n' roll jet set."

But the designer may be taking a risk by targeting that .01 percent of men, and those who idolize them enough to dress like them.

The same sort of small, fitted jackets showed up in the Perry Ellis spring collection. But where Mr. Campos went androgynous dandy, Ellis creative director John Crocco veered toward ultimate preppy. His looks, including some nice handsome striped turtlenecks and cardigans, were fabricated in luxurious linens, cottons, silks and wools in yellow, white and pale shades of brown and blue.

There was much to please men who prefer their preppy wearable and still elegant, from smooth cotton storm coats and cropped trenches to hooded windbreakers and shorts and tops in fashion-forward colors such as sunset and coral. A few minor stumbles aside, Mr. Crocco succeeded in proving that preppy doesn't have to be nerdy and relaxed doesn't equate self-deprecation.

Metallics will be as big for next spring and summer as they are this fall and winter. The Italian brand, known for its premium denim and '70s flavor, debuted a metal-flecked line reaching back to the '60s that was young without being juvenile and sexy without any hint of trashiness. Andy Warhol's pop esthetic recently has influenced a number of American designers, and his 1966 art-house film "The Chelsea Girls" inspired creative director Wichy Hassan's edgy, street-glam designs.

Figure-flattering jumpers, baby-doll minidresses, second-skin slacks and slinky body suits were updated picture-perfect in deco prints of muted colors and pops of brown, blue, mauve and aubergine against white and black. Thoughtful and on-trend accessories completed outfits wonderfully, from clear vinyl sun hats trimmed in fun colors and large patent leather bags, to ankle boots and peep-toe cage sandals in bold leathers and patent leathers. Among celebs taking it all in were Demi Moore, Hilary Swank, Maggie Gyllenhaal and Clive Owen.

He deserves more attention and acclaim for consistently creating alluring women's designs with a creative flair that derives from his Brazilian background. He transformed beautiful silks in shades of lime, turquoise, guava, champagne and pearl into stunning gowns and dresses, many adorned with "fuxico" rosette-type motifs. His prints were dramatic and unexpected, from Ipanema silk charmeuse mini-dress to a one-shoulder cherry blossom gown and ingenious black-and-white "Polaroid print" mini-dresses and gowns. It was a collection rich in detail, texture and nuance without being fussy.

Also, Max Azria debuted a collection of airy, ethereal and lovely dresses, sportswear and outerwear that could best be described as Carolina Herrera for juniors.

Nicole Miller cut closer to the body adding pretty beading and military details to dresses, eveningwear and sportswear.

Nautica remained true to its heritage in color palette and style, complementing the brand's traditional sportswear with loungewear and formal pieces.

Although it's hard to envision core customers going for the neckerchief, Nautica has a consistent point of view -- the shades of blue are gorgeous -- that plays well with devotees as well as a more modern group of young men.