Kirchner's late style, which began in 1925, is characterized by a conscious departure from German Expressionism. Increasing abstraction, but at the same time, naturalistic echoes determine the composition of this picture. The figures are no longer three-dimensional, as in his Expressionist phase, but are two-dimensional. They also show the shadow areas painted in shades of brown that were characteristic of his late period, which are sometimes described as a kind of aura of persons or as "air shadows". These superimposed color fields form independent planar compositional elements within the picture. The American art historian Donald E. Gordon mentions that the coloration of Kirchner's late work is reminiscent of Paul Gauguin.

For Kirchner, the casual movement of the figure played a central role. Thus, he also studied women in Davos, and, in this case, men, who danced and moved unclothed in nature. Despite the abstract, formally strict composition, an almost paradisiacal lightness is reflected in the design of the Young Men of 1932/36. Contour lines and areas of color transition from one figure to another and playfully connect the three women into a compositional unity. In spite of all the abstraction, this work, too, is based on the figurative and on direct contemplation.