Recent years have seen a new wave of graphic design in print and on TV that favors the simplistic, bold yet clean imagery of the “Mad Men” opening titles. Since the summer of 2007, when the AMC show debuted, design firm Imaginary Forces has created similar stylish title sequences for shows like “Chuck” and “Human Target,” and Photoshoppers have been offered “vintage” tutorials. There has also been a resurgence of work inspired by “Mad Men”-era graphic designer Saul Bass, like ABC’s “Lost” prints, designed by Ty Mattson. The “Knight and Day” promo poster was influenced by Bass and has been blamed for the film’s box office failure.

If there’s one thing that Don Draper and Roger Sterling are known for, aside from sleeping with or marrying women who are nothing like their original wives, it’s getting sloshed in broad daylight. “Mad Men” has helped usher in a new “cocktail culture” era with besuited hipsters in horn-rimmed glasses and ladies in A-line skirts and white gloves tossing back old-fashioneds, Gibson martinis and Manhattans like it’s 1962. (“Mad Men” strives for accuracy even in its drinks.) There’s just something about the sound of clinking ice cubes mixed with potent spirits that says, “I’m getting fancy drunk.”

In the last few years, “Mad Men” costume designer Janie Bryant has helped re-popularize vests, skinny ties and the ever-present fedora. Mid-century glamour and quality have found their way into the vocabulary of all the major designers from Michael Kors to Marc Jacobs to Louis Vuitton. An upside to the trend: Women are increasingly being encouraged to emphasize their best features, whether they’ve got miles of curves like Joan or willowy grace like Betty. “Mad Men” has also made its influence felt on the styling of other cable shows: Neal Caffrey, Matt Bomer’s character on USA’s “White Collar,” is the most blatant example of Rat Pack stylishness to emerge from the post-”Mad Men” pop culture wave.

Companies like Macy’s, Design Within Reach, and Room and Board have infused their furniture with “Mad Men” lines. Minimalist and clean, with the occasional tufted sofa back and the ubiquitous tapered legs, the mid-century influence can be seen in everything from the new hot wallpaper designs to the round-edged trapezoid of coffee tables and the increased demand for cocktail carts and matching glassware. You can even get a “Draper” headboard just like the one Betty and Don used to sleep on. Apartment-porn website Apartment Therapy has tips on getting the “Mad Men” look with lighting, and the AMC show has inspired any number of thrifting articles in major newspapers.

Sean Hayes is undeniably talented, and playwright Neil Simon may have said to lyricist Hal David that a revival of the 1968 Broadway musical hadn’t been done in four decades “because it took over 40 years to find Sean Hayes.” But without “Mad Men,” the pop culture appetite for mid-century bed-hopping and workplace subterfuge would be decidedly thin. “Promises, Promises” is not a modern story — in today’s offices, if a boss bartered a promotion and basketball tickets for adulterous sexy time in a subordinate’s private residence, someone would be getting sued faster than you could say “Katie Finneran’s Tony.” But while Hayes and co-star Kristin Chenoweth seem more like Doris Day and Rock Hudson in “Pillow Talk” than Shirley MacLaine and Jack Lemmon in “The Apartment” (on which the play is based), “Promises, Promises” has charmed audiences and kept the phrase “Turkey Lurkey Time” from vanishing into the ether.

That people are still playing with the “Mad Men Yourself” avatar creator (updated for the new season) devised by show runner Matthew Weiner and artist Dyna Moe is a miracle of longevity in the fickle online universe. The creator became an incredibly effective way to digitally market a brand that, despite its cultural impact, isn’t as widely known as most die-hard fans would think (fewer than 3 million people tune in to “Mad Men” on a given week). Since then, imitators have sprung up: You can make yourself a RuPaul-worthy drag queen with the “RuPaul’s Drag Race” Dragulator, or a cyberpunk gamer with a bad attitude thanks to the “Scott Pilgrim vs. the World” avatar maker.

The cover of “The Lonely Polygamist,” this year’s “Big Love”-esque family drama from author Brady Udall, looks awfully familiar: couch, silhouette, red, black, and white coloring. But the similarities between the novel and “Mad Men” don’t end there. The book’s patriarch, Golden Richards, may be Don Draper’s polar opposite, described as a Sasquatch with buck teeth, but both men have run from their past. They initiate extramarital relationships (not a spoiler, it’s on the book jacket) and pine for women who ask nothing of them. Golden and Don are both apathetic to the point of neglect when it comes to their children, although Don’s only got two to Golden’s 28, so, you know, he’s lazy.

“Mad Men” — with its detailed sets, clothes and focus on the societal trappings of the early ’60s — have helped make its time period more readily accessible to younger generations and arguably helped pave the way for a number of films set in the same time period. The most obvious descendant is “A Single Man,” Tom Ford’s paean to grief and repression (and fabulous period sets) starring Colin Firth and Julianne Moore (the film even employed “Mad Men’s” production designer) and “An Education,” with Carey Mulligan as a young girl awakening in 1961 London. You could even claim that “A Serious Man” by the Coen Brothers (which, like “Mad Men,” depicts the emotional and physical unmooring of a man from his suburban life in the mid-’60s) was made more palatable by the various existential crises on “Mad Men.”

On “Mad Men,” the music is secondary to the design and fashion. The show’s use of the era’s jazz, pop vocal and lounge music serves the story but never overpowers it. The show’s soundtracks have sold decently but not with the same steamroller ferocity of everything else connected to the show. In a blatant example of rip-offery, however, we give you: “Music for Mad Men,” a self-published series of CDs that have pilfered the striking graphic design of “Mad Men” and appropriated it for compilations of period jazz and blues music — and showed up in a recent Vanity Fair piece about show creator Matt Weiner’s desk. He said he was too flattered by the overt theft to sue, which is quite magnanimous of him.

While the B-52′s, Marge Simpson and Amy Winehouse have all rocked the beehive for years with varying degrees of success, the true renaissance in big coiffures for women has developed in the post-”Mad Men” years. The celebrities are clearly into it: Drew Barrymore modeled a huge do at the Golden Globes earlier this year, Beyonc