There’s a famous musical number in the 1932 film “Blonde Venus” in which Marlene Dietrich clomps around in a gorilla suit. That’s one part of Pedro Lourenço’s fall formula, which he fused with the actress’ penchant for tailored threads. Then he folded in majorly graphic references courtesy of Bauhaus Ballet. If it all sounds like an improbable cocktail of inspirations, well, the sum is greater than the parts because this was Lourenço at his best yet, fully confident and markedly more wearable. A few complicated looks aside, the collection was the designer’s answer to all those critics who questioned his command of the commercial. There was nothing head-scratching about the terrific streamlined coats spliced with wide patches of fox fur. Or the fuzzy Lurex tweed sheaths or jackets with angled, linear insets. Or the simple color-blocked dresses. And Lourenço didn’t exactly water down his sensibility, flaunting his love of transparency in a leather dress with alternating rows of fur and sheer silk, as well as architectural cuts in sharp two-toned jackets. And he’s still got that futuristic edge. Take, for instance, his accessory of choice: leather iPad cases shown as clutches, which are actually going into production.