The tension between masculine and feminine has long been an interplay that fascinates fashion. Last night at Christopher Esber’s resort 2018 outing, held in one of the more tucked away historic buildings in the Carriageworks site, he made a reclamation of traditional gender codifiers. The carpet, a seething, deliberately-off yellow, was the kind you could find in both an expensive drinking establishment and a time-warped office that hasn’t found the means to upgrade and was the first signal of the duality and opposition Esber was to deep dive into.

The shifting goal posts began from the first three looks, with slate merino wool banker’s suits and striped shirting. All looks that could have been straight down the line had major twists like tie fastenings in place of a double breast and shirting sliding off models' shoulders. Reworks of trenches in skirts and cropped jackets added to the feeling of classics flipped and inverted: clean knits in neutrals went from day to night with latex lacing overlaid as did loose ankle-length dresses with men’s watch links as straps.

In this topsy-turvy context, lightweight dresses with asymmetrical hems felt subversive, rather than plain pretty, first in their skew-whiff shapes and then in their cut-outs and spliced elements, some put back together as two different pieces.

With all the utility in the fabrics - cotton and wool dominating -, one of fashion’s favourite sub-categories 'working wardrobe' was bound to come up, and so it did in the show notes. With the shifting in economics in recent times and lean toward the freelance economy, Esber, like many of his customers, is grappling with what a working wardrobe looks like exactly in 2017. Granted one would have to work in a fairly liberal-minded workplace to trudge to the coalface in breezy wisteria-purple dresses and blouses, but wouldn’t it be fun if one day we all did?Read more at:cheap formal dresses | marieaustralia.com