“We’re pretty intuitive, and I think that’s how we roll.”

That’s Michael Rider, artistic director of Celine, explaining the team’s creative method after his humdinger of a spring show.

He has a knack for taking your eye to unexpected places when you drink in his clothes, whether it’s a shoelace-puny belt on a voluptuous dressmaker coat, a silver bangle the size of a cantaloupe punctuating a slim gown, the deliberate crease on the back vent of a papery jacket, or the slightly awkward fit of LBDs.

He employed a host of satin-finish fabrics, many of them crisp, and lots of black and midnight blue. This gave the collection an appealing, soigné vibe, though here again, his ensembles always hover somewhere between dressy and casual thanks to some unexpected element, like a purposely scuffed sneaker, an offbeat headband, some harem pants in a bandana print, say, or a graphic concert Tee under a white satin pantsuit, wrong-footing the Bianca Jagger associations you had at first glance.

His spontaneous, unfussy approach at Celine extended to the venue, where guests sat on tightly crowded benches under a huge thatched roof erected in a leafy museum courtyard.

Like his sensational men’s show last June in Paris, this collection was hard to pigeonhole, always flirting with austerity and minimalism on one side, and bohemian on the other, but never fully committing to either.

Rider’s offhand, introspective brand of chic feels fresh and — nearly two years into the brand — he’s already managed to blur his disparate source material: Celine’s long legacy of Parisian chic, the disparate Phoebe Philo and Hedi Slimane eras, and his own American sportswear proclivities, given his nationality and his recent years at Polo Ralph Lauren.

Asked by one reporter in the backstage scrum about the nearly random, undone feeling of his outfits, Rider replied: “I think what’s interesting about Celine is that tension, because it is a rigorous place… I love when real clothes are worn spontaneously.”

Like his predecessors, Rider is not one to deeply explain his shows or clothes, preferring to leave them open to interpretation.

That said, he placed a badge on everyone’s seat that was formatted like a political slogan. It read: “If you shoot an arrow and it goes real high… Hooray for you.”

Turns out it’s a line from drag performer Dorian Corey in the 1990 documentary “Paris is Burning,” uttered as she applies thick eye makeup and muses about aging, ambition and leaving a legacy.

“What she says in that moment felt very relevant right here, right now,” said Rider, who shot his fashion arrow very high this season. Hooray for him.