It was an exploration of volume, flow, and delicate control through dualities of past and present, and the ethereal and vespertine.

Taking 1950s under and night garments as subtle points of departure, camisole lace panels liquified around the body and gently wrapped, draped, peeled and fell, forming dresses with streams of silk vapour chiffon, sometimes interrupted by a patch of shibori punk. The flowing intersection of textures illustrating Esber’s unceasing attention to the tactile experience.

Making their debut were silhouettes beyond the figure, that formed from fine white muslin and silk that billowed and was deliberately, delicately laced and pin tucked back close to the body. The sheer fabrics were sculpted to create volume and layered to submerge what was worn beneath. Fine ostrich feathers, each hand-beaded to a fine organza-like lattice, similarly created garments of intimate transparent volume, but in delicate flight, like that of a dandelion.

The palette oscillated between airy, soft, cloud like whites, creams and black out. Dark lace and silk were gathered, sculpted and collaged into fluid dresses, and black linen was tailored into forms brutal and severe, pieces that are at once demure and asking the eye to seek what lies beneath.

Tailoring was precise, balanced and thoughtful, accented with dips of Esber’s signature resin. Intensely tailored pieces in black and white railroad stripe, usually reserved for the oversized and casual, have been pulled into the body in an elegant, metropolitan take on the utilitarian while retaining 80s denim details, in an exercise of inverse tailoring.

Each season, the brand’s signatures evolve in an explorative design process that allows for the unexpected. This season metal hardware is fluid and detailed with bugle and seed beads, anchoring jersey that flows in continuous motion around the body forming sleeves and capes, back to the ethereal and light.

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