There was a masquerade ball at the Elysée-Montmartre that evening. It was the ‘Mi-Carême,’ and the crowds were pouring into the brightly lighted passage which leads to the dance ball, like water flowing through the open lock of a canal. The loud call of the orchestra, bursting like a storm of sound, shook the rafters, swelled through the whole neighbourhood and awoke, in the streets and in the depths of the houses, an irresistible desire to jump, to get warm, to have fun, which slumbers within each human animal.
Two years after the Paris 1968 student riots, Parisian couturier Jacques Esterel launched a timely couture collection for men and women that responded to the shifting gender ideals of the time. Resplendent with matching his and hers outfits and unisexwear, Esterel’s looks seemed to reflect a breakdown of the fashion system and the gender issues that were a result of the zeitgeist; an exemplar that periods of crisis are not only foreshadowed by, but also directly result in, changes in systems of dress.