I wonder if Christopher Esber knew that this day would change his life when he woke up this morning. Sometimes, you can feel these things in the air; one of those intensely Dylan-esque moments when you know that, whether by some natural coincidence or cosmic twist of faith, nothing will ever be the same again. In the grand scheme, it doesn’t really make a difference when he knew it or not- whether he could feel the air thick with his own triumph in the early hours of the morning- all that matters is that, yes, things will be irreparably different in Christopher Esber’s life starting from this moment.

You see, today, set against the backdrop of Sydney’s picturesque harbor, Christopher Esber’s debut show at Rosemount Australian Fashion Week changed the face of the Australian fashion industry swiftly and with militaristic decisiveness. Opening a trapdoor to a world of artistry and thoughtful, directional design that, as yet, has been a mere whisper in Australian fashion, Christopher Esber set a new standard for fashion in our fair country. 

Sheer fabrics were coupled with leather and the collection had an uncomfortable feeling of cleanliness that was made more uncomfortable still by unfinished hems and deliberate industrialism. But I don’t mean uncomfortable in a bad way- I mean in that magical way that makes you shift in your seat, crane your neck and hanker to touch, to know more of this new, exotic world that is awakening before your very eyes. Christopher Esber imagined a Teddy Girl for the future, all easy cool, devil may care attitude and raw sex appeal.

Playing with the female form Christopher Esber’s silhouettes at once accentuated the curves of his models and consumed them. From body con reconstructed wife beater dresses to voluminous tent like leathers, Esber’s collection was at once beautiful as it was thought provoking. Stand out pieces included a sheer shirt dress with a leather snap biker jacket collar and a cropped shirt featuring bedazzled collar and leather tails.