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Esse, the brainchild of designer Charlotte Hicks, has been gaining momentum over the past few seasons. Now a preference for well-dressed Australian notables, it’s hard to believe yesterday was, in fact, the label’s Australian Fashion Week debut.
In the lead up to the show at Sydney’s Bennelong Restaurant inside the Sydney Opera House, Hicks made a dedication via Instagram. It exulted her career milestone and explained how she has been manifesting this moment for more than 20 years. And what a way to begin. The location, for one, was a instant jaw-dropper, with guests seated against the famed arced windows, flanked by the awe-inspiring interiors of this piece of architectural history. Secondly, the crowd, who buzzed with anticipation and included some of the country’s most prestigious media, mostly dressed in a shade of sharp minimalism – a nod to the style they were about to see.
The collection, entitled The Editions, is core to Esse’s aesthetic. A look that options avant garde detailing while retaining the idea of ready-to-wear must-haves. Think reworked trench coats, gowns with considered keyholes, wide-fastening blazers and even dashes of flouncy fringing on asymmetrical coats. Additionally, modern classics like the season’s du jour of oversized silky suiting, long-line “puddle” trousers and structured cigarette pants all pointed to Esse as the next wardrobe investment brand.
Hicks kept the styling simple and directional, complementing the mostly black, ivory and red ensembles with leather bags by Yu Mei, understated sandals, printed neckerchiefs and the occasional pair of Local Supply shades. It meant the drama stayed with the Esse silhouette. Looks such as the billowy-backed evening dress that created a dreamy drift both from the skirt and the blouse, the maxi-length A-line skirt that, when layered under a large black Oxford shirt, offered an inspired take on chic conservative dressing, or the white cross-wrapped blazer tucked into a silky black column skirt that was cinched perfectly by a long, fringy cummerbund. Each look, while dutifully on trend, was also marked by its classic, seasonless wearability.
“I am always inspired by the strong modern female energy around me. That always grounds The Editions and keeps them the right blend of form and function. I have always had an affinity for the gentleman’s wardrobe through history, so there is a homage to that masculine energy. Its all about the balance.” Hicks told GRAZIA.
It should be noted that drawing these collections together post-pandemic – with all the increased pressures from costs of production, materials and manufacturing – is impressive. Most Australian labels, like Esse are a small team, a small business. They are investing and working harder than ever to continue to do what they love and deliver pieces we can get excited about.
“We are all dodging and weaving the many obstacles in all parts of our lives. I think it is often forgotten just how many hands are behind what we do and are integral in the value chain. When one of those links comes undone through Covid, floods, lockdowns or the many other obstacles we are collectively mitigating – it can really have an impact. We can’t also forgot a really fundamental issue we are all facing, the cost of raw materials. The cost of freight and raw materials continue to rise this puts such an amount of pressure on a business.” says Hicks.
And she’s right. It is easy to forget what happens behind the scenes. At one point in the show yesterday the music dipped low and I could hear the hum of terse organisation backstage, followed by a quick shhhhh from, I assume, Hicks. Only guests closest could have heard, but it was a nice, momentary reminder that behind the cool, calm, styled runway there is a visionary furiously keeping the wheel spinning. After the finale, Hicks appeared for a wave, a smile and then a fist-pump of success directed to her team out the back. Well deserved.
