Yesterday afternoon, at the Tennis Club de Paris, Kris Van Assche presented his spring-summer 2014 collection for Dior Homme. We bring you the lowdown.

An air of Miami wafted over the spring-summer collection by Kris Van Assche. There's the idea of a tuxedo on the beach where the trousers have turned into shorts, where a jacket has lost its sleeves, where the tailored elegance is imbued with an oceanfront nonchalance. The effect is laid-back and natural. Satin bands drawn from formalwear find a new context as they appear in unexpected ways throughout the collection. The looks follow on in succession like pieces in a game of dominos, each drawing on an element of the one that came before - a color, an insert, a length. To the usual blacks are added prune, Prussian blue and slate gray, to be found as a solid or a patchwork, outlining a structure here, creating a graphic effect there. They're like blocks of color that change position on the body, from one look to the next. Effects and reflections multiply these aspects and heighten the colorama. One is also reminded of the abstract nature of a Mondrian or a Malevitch in the way the piecing serves to sketch out a new kind of geometry, and the image in turn alludes to another aspect of Miami, namely the contemporary art fair, Art Basel Miami Beach.

Soles with a metallic insert, bags, document holders and messenger bags pick up the color combinations present in the clothes. The accessories also play around with the codes as they mix formal and sportswear. The models walked to a soundtrack by the Pet Shop Boys. The retro vibe it cast was in direct contrast to the modernity of the setting: a labyrinth of mirrors that multiplied the looks and reframed them in reflection form, thanks to an architectural game based on mirror height and placement. After their turn on the runway, the models disappear into the labyrinth, before the finale when they all reappear and it seems as though the mirrors themselves are moving beings.