PARIS — Oh, what a Bauhaus morning.

The sleek lines of minimalist architecture were the source of inspiration for two very different designers, Andrew Gn, and Albert Kriemler of Akris, who showed their fall collections here on Wednesday.

At Akris, the contemporary work of the Basel-based architecture firm Herzog & de Meuron set the tone. Dresses and coats bore distinctive flat planes and geometric shapes; several pieces were decorated with tiny oblong pieces of shiny black plastic. The more direct references in garments appeared on pieces like a gray cashmere cardigan decorated with hand-embroidered cubes that bounced in perfect grids as the models walked.

At Andrew Gn, the work of Josef Hoffmann inspired a linear appliqué pattern that adorned several pieces, including skirts and a black wool coat. On the latter, the tall design — which initially brought to mind a wide, tiered structure or the Doge’s Palace in Venice — was made from white satin and went all around the hem. The design showed up again on other pieces, notably in velvet on black fabric.

But inspiration aside, these collections went beyond references to other design forms. Mr. Gn’s collection had a number of beautiful pieces that could make New York society gals go giddy. A minidress in gold took home top prize: the bodice was decorated with short bronze-colored chains and sequins, and the baby doll shape sparkled in gold lamé. The same technique was applied to a skirt shown with a simple gold, tiered camisole. Other halter dresses were decorated with art deco medallions at the neck or appliqué designs in jasper, amethyst, and turquoise. The gowns shown at the end were stunners, but even the simplest pieces — like a white caplet shirt with a deep V-neck and a velvet tie — were keepers, too.

Akris’s Mr. Kriemler did not stint on decoration, either, even though he drew so much from the minimalist architects (the designers behind the Tate Modern in London, the Walker Art Center in Minneapolis, and the Prada store in Tokyo). The designer was led to work with two distinct fabrics — double face cashmere and the black celluloid paillettes — while admiring the exteriors of the architects’ work.

“I got inspired by the facades of buildings by Herzog & de Meuron. It translated to the surfaces of my fabrics, shiny and not shiny. It’s all about fabric for me,” Mr. Kriemler said.

On several garments were narrow, black rectangles that in some cases laid flat against the fabric and in others dangled down and sparkled. The show’s last look used them in a way that balanced sophistication and verve: a slim, short dress of gray silk satin had an overlay of black tulle and was paired with an organza shrug that glinted with all the glossy black sticks of plastic.

More broadly, Mr. Kriemler created the balance — between seriousness and gaiety — throughout the collection. It seemed to suggest that clothing should be taken seriously but life doesn’t have to be. Black, shades of gray, and deep jewel-tone fabrics were cut in a way that emphasized the geometry of slender fit and short skirts. Then there were lighter touches, like a loose gray hood with drawstrings on the sides topping a sheath dress. The models wore sheer turtlenecks that covered their chins — a stand-in to emphasize the elongated neck of the silhouette Mr. Kriemler was going for.

At Costume National, the mood was edgy and strong. Designer Ennio Capasa breathed some fashion life into the idea of the uniform. A red satin dress was shown with soft epaulets. A black short jacket with two vertical rows of buttons had a masculine appeal, as did an oversize trench coat. Unrelated to the uniform theme were a series of big knit shawls and scarves that looked cozy and easy to wear.

This was in contrast to a series of tight, fitted dresses in several colors of silk satin, including navy blue, red, crimson, and olive green. These were topped with multicolored bands that crossed at random angles around the shoulders. The deep colors on these dresses were combined in a way so that even women who live their lives in black would feel safe. The sexiest dress of the show, however, was a tight muted green number with a low back, high neck, and at least a foot of fur that ended on a hemline that grazed the knee.