In a few short years, Rodarte’s Kate and Laura Mulleavy have fascinated New York fashion with a wondrous vision as peculiar as it is beautiful. And unfamiliar in these practical parts, given as it is to wanton romance and, excuse the expression, couturelike reveries.

The sisters awed again for fall, in a collection inspired by architectural artist Gordon Matta-Clark, who, in the Seventies, deconstructed parts of abandoned buildings for his series of “building cuts.” (God bless Wikipedia, which conspires with the patently ignorant to make like they got the reference all along.) What one couldn’t miss was the leap taken in this collection, in which the designers imposed a newfound structure on their fantastical, often brooding, musings. They channeled their penchant for visual opulence via rich, elaborate fabric mélanges into precisely constructed collage looks evocative of the most glamorous superheroine-villainess set. Heightening that mood: the up-to-there leather boots with crisscross lacings that thrust fashion editors into a communal swoon (not to mention a high-stakes race to shoot them first). Along the way, the Mulleavys imbued the biker chic with rare mystery, and mesmerized with the breathtaking palette of their finale in icy blues and greens. These are not clothes for everyday, although there were hints of such in the still-eccentric yet newly substantial (as in not so webby) knits, and one longs to see the still-small commercial collection, which does exist.

And which one day might not be so small. Among those who took in the show: Pierre-Yves Roussel, chief executive officer of LVMH Moët Hennessy Louis Vuitton’s fashion division. According to an LVMH source, no house within the conglomerate is currently seeking a change in designers, so it appears that Roussel was engaging in some just-in-case scouting. And why not? LVMH has mined New York before, and hit the jackpot.