By Katie Martlew
Born and raised in Sydney, Christopher Esber was taught the craft of tailoring at a young age by his aunt, a bespoke tailor.
And so began his love affair with minimal, contemporary tailoring.
Esber’s Spring/Summer 2010-2011 RAFW show was inspired by ‘minimal nothingness’, more specifically; inspirational elements were taken from scaffolding, demolition, construction sites, and 90-degree angles.
The atmosphere was serene, yet subtly severe. Models paced up and down the runway dressed in structured crisp white collared shirts- some cropped; paired with slim-fit pants and streamlined skirts- redefining modern day work-wear.
Spectacular cut was key. Structured leather vests and jackets were juxtaposed with sheer fabrics. Blazers featured bold, gathered shoulders and cut outs, in hues of black and white. Shift dresses in intriguing fabrics and contemporary shapes added something of a bold femininity to the collection.
In keeping with Esber’s minimalist aesthetic, the colour palette predominately featured navy, black, white and cream- punctuated only momentarily by a baby blue sheer pleated full high-waisted skirt.
La Biosthetique kept hair simple and chic, slicking it back into low effortless ponytails. Make-up was fresh and muted, pairing nude lips with seemingly bare eyes.
As each model finished her walk through, they each lined up against the wall, facing the audience, palms outward, expressions serene. At the climax of the show, the music grew louder as the models each stepped closer towards the crowd, in what seemed to impart some sort of subliminal message telling us Christopher Esber’s personal brand of structured modern minimalism could very well be the way of the future.
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Image courtesy of The Vine
