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Dior created his high-waisted, flared A-line in 1955, Yves Saint Laurent his trapeze-line dress in 1958, with a wide skirt that fell from the shoulder line, while Balmain countered with his own pencil-slim, fitted dresses. Dior's favourite couturier, Molyneux, retired and closed his house in 1951. Couture, and fashion generally, seemed to be hedging its bets, uncertain of the direction, fearful of the future and waiting, perhaps, for a sign from the zeitgeist; Courréges was to be the next catalyst, in 1964.
Dior's Spring show was a record-shattering success whwre the vendeuse was obliged to shout over the prolonged applause.Bettina Ballard, American Vogue's Paris correspondent, who had spotted the newcomer's promise when he was designing for Lelong, said, 'I was conscious of an electric tension that I had never before felt in the couture.Suddenly all the confusion subsided, everyone was seated, and there was a moment of hush that made my skin prickle.' Dior had master-minded the presentation, and had rhearsed the models with the patience and precision of a choreographer. 'The first girl came out, stepping fast, switching with a provocative swinging movement, whirling in the close-packed room, knocking over ashtrays with the strong flare of her pleated skirt and bringing everyone to the edges of their seats.After a few more costumes had passed, all the same exciting tempo, the audience knew that Dior had created a new look!'
