Pieter Mulier, the latest designer to transform a Paris bridge into a runway, was blessed with idyllic, breezy weather for his golden-hour show on Sunday night.

The wind added almost nothing to the display — rippling one latex trenchcoat and ruffling a furry collar here, a furry stole draped over a forearm there.

Otherwise, these clothes hugged the body so tightly not even a hurricane would make a difference. The models’ taut ponytails? Impervious.

There was an idealized quality — like a Herb Ritts photo — to Mulier’s latest collection for Alaïa, a sexed-up version of stern, 1940s glamour expressed with seamed leather, filmy latex, lacquered knitwear and plenty of flesh.

The term “king of cling,” one of the handles applied to the late Azzedine Alaïa for his formfitting designs, came to mind immediately as models negotiated the wooden slats of the convex Léopold Sédar Senghor footbridge in their high-heeled pumps with arched heels.

Everything clung, except the offbeat leather pillbox hats and the handsome, strong-shouldered tailoring that opened the display, the wool flannel coats and jackets realized with more buttons than most women have time to fasten on any given morning.

The superfluous closures went to Mulier’s conceit for the show: time.

“Taking time for everything,” he said in a backstage scrum under the bridge, where a barge served as the dressing area. “Every jacket, you have to close with the 15 or 16 buttons on the inside.”

No question these body casings were studied, and meticulously executed, the pencil skirts made of leather that’s positioned on neoprene, molded and seamed.

“Everything is tailored, everything, so even dresses are made by tailors,” said Mulier, who also conscripted corset experts to hone his bombshell silhouettes.

Guests had to take time to unfold the three-legged stool that served as the invitation, and prop it in their designated spot.

Tracee Ellis Ross and Rita Ora were among the VIPs who gingerly squatted in their knit tube dresses, placing their bottoms on the triangular leather seats. “The furniture that you can take home is genius,” Ora said, testing out her chair. “I’m loving it.”

The show reached a zenith with gauzy tube dresses onto which dense, hydrangea-like ruffles sprouted on the hips. “For a man, power comes from the shoulder. And for a woman it’s more from the female curves,” Mulier reasoned.