The striking aspect of this otherwise plain miniskirt is the sculptural hemline. Fourteen tapered fabric panels ending in circular discs are attached to the elevated yoke of the bust. These are in turn set upon one another and result in the sculptural bounce of the hem. The tightly woven wools that were popular in the 1960s were the ideal match for such sculptural designs and witness to high sartorial refinement. The dress closes at the back with a concealed zipper and is fully lined. Pierre Cardin, who went freelance with a small studio in 1950, was among the most versatile designers of the postwar period. In addition to his haute couture collection he also designed ready-to wear as well as prêt-à-porter collections and has granted international licenses. His designs are marked by interests in technology and geometry and are distinguished by the consistent implementation of a concept throughout a collection. In 1964 he brought skirts 10 cm above the knee and thus substantially contributed to the spread of the miniskirt.