ontinuing to Rue de Paris, Temps de Pluie (1877) we see the maximization of social isolation on the "urban stranger" in order to punish him for wearing simple masculine clothes in front of eligible women and therefore, the true motivation behind the flâneur's feminine clothing. The "urban stranger" here is in the center of the painting where the roads meet, wearing a simple black overcoat and a melon hat. He is the only significant figure walking alone; most of the other characters walk in pairs. Moreover, there are clear isolation-creating differences in not only dress between the "urban stranger" and the flâneur, depicted in full glory as the man to the right with a woman at his arm, but in the directions they face, whether they stand up straight, and their relative positions in the painting. The flâneur wears a dark gray dresscoat evening suit that drapes nicely over his frame and works to display his vest prominently. This last practice according to Razek would not be well received in popular fashion. He writes, "Wearing a luxurious vest [wasn't] condemned per se, rather, displaying it [was]" (Razek 9). Again, Razek highlights the stigma of "luxurious" fashion that attached to the flâneur. Yet by switching the tables on this stigma by isolating the "urban stranger" wearing masculine clothes instead of the flâneur, Caillebotte asserts the exact opposite. By creating this obvious attack on the conservative attitude in fashion, Caillebotte creates a far more intense isolation effect between the "urban stranger" and the flâneur. Moreover, unlike in Le Déjeuner, there is no link between one of the social participants and the "urban stranger" to mitigate the isolation. The reason behind this is to demonstrate the flâneur's motivation in wearing the feminized clothing. Notice the flâneur's companion rests her hand upon his arm. The woman is connected not only socially with the man, through her elegant dress, but physically as well. Unlike Le Déjeuner, in which the relationship between woman and flâneur was that of servant and employer, Rue de Paris, Temps de Pluie depicts an unquestionably romantic relationship. This correlates with the maximization of the isolation effect on the "urban stranger" in a way that suggests his masculine clothes is responsible for keeping him isolated. Whereas in Le Déjeuner there was less need to dress like a flâneur, here Caillebotte punishes the masculine social "deviant" by isolating him, thereby sending the message that men who dress as flâneurs "win" eligible women and those in masculine dress "lose".