For the first half of the day, I was rather liking the fact that the bulk of the designers showing at RAFW beat to their own localised drum, hardly touched by the major shifts that the Northern Hemisphere fashion capital shows have prompted (new 'minimalism', 50s shift), partly because of the season switch (autumn/winter in March to August, spring/summer in September to February) and partly because the designers have developed their own aesthetic that doesn't need to say a BIG seasonal statement and their home fanbases regularly buying these brands proves that (never have I seen quite so many people wearing the clothes matching up with the shows that they're seeing…).
Then late in night, out comes Christopher Esber who a) closed off one side of the catwalk to form a white background for his models to stand against in line formation and b) presented a very different side to Australian fashion. A TAFE NSW graduate who debuted as part of a group show at RAFW back in 2007, Esber evidently approaches his work with a physical care for sharp silhouettes where shape is tantamount and in this S/S 10-11 instance, he imagined his fabrics 'collapsing' in and also referenced work wear and paper drafting in the collection. I can't deny that as I was watching the show, anything from recent Celine to Miu Miu popped up in the head. This is by no means a criticism because the sum of Esber's structural fabric parts come together to form a sufficiently different proposition anyway. I didn't get up close and personal with the fabrics but even from afar, you could tell there were hidden elements such as tucked away bits of construction that all evoke fabrics 'collapsing' into itself. Quite possibly the neatest 'broken' clothes I've ever seen and fortunately, no mending is required at all.