Inspired by Nastassja Kinski in “Cat People,” Lourenço’s collection had “a very Eighties aesthetic, but in a high-tech way,” he said.

The designer glossed his slick, sporty silhouettes with shiny treatments.

Carmen Miranda was the inspiration behind the designer’s spring collection (which he showed via an online video).

The designer approached his fall collection with modernism and ease.

For spring, the designer revisited war photographer Richard Mosse’s eastern Congo series, which was his starting point for resort.

The works of war photographer Richard Mosse, who used a filter to turn green into pink, inspired the designer’s collection.

The designer sought to fuse city life with country ease, “an apocalyptic city and groomed country,” as he said backstage.

Inspired by the Patagonia region, the designer showed landscape prints of desert mountains and icebergs.

The designer was looking at the mixed textures of ecological architecture when he created his spring collection.

The designer’s first resort offering stuck to vertical silhouettes, a graphic sensibility — while continuing to push himself on the real-world commercial side.

Lourenço he flaunted his love of transparency and his flair for a futuristic edge.

In his second Paris showing, this Brazilian boy wonder upped his game, with his penchant for rigid, architectural silhouettes running full-throttle.

Pedro Lourenço’s Paris debut, which focused on architectural leather block pieces circled in 3-D leather vents, proved a lesson in technical wizardry.