Christopher Esber has just celebrated his first solo show at Rosemount Australian Fashion Week, as Erin O’Loughlin discovers. She kicks off a special looking at how young designers reach a decade in business.
What was your main goal when you graduated from ‘fashion school’?
I’d always imagined starting a label. Not necessarily straight after college, but after being asked to participate in the four boys group collection show [at RAFW 2008] it just seemed like a natural next step.
What feedback did you get from your 2008 RAFW debut?
There were a few things. I did this thing where apples were in the model’s mouths. It was a bit gimmicky. There was a bit of backlash over that. From finishing [that 2008 show] up until now I’ve just learned to simplify and really look at my ideas. Being a student, you want to put as much idea into an outfit as possible. Over time you realise you need to simplify and make it a reality. You always have another collection coming up, you can always put other thoughts into other collections.
What was your next move after the 2008 RAFW show?
At that point I was paying off the show that I did. Also, it was about an eight-month period where I was finding the right sample makers to have around me, getting the right suppliers on board, knowing where to go for production. All my initial research of finding the best people to work with.
In 2009 you pulled out of RAFW due to family circumstances. How did that cancellation affect your label?
Any form of sales that could have happened, didn’t. But we just worked on again building up the brand, pushing the brand for the right magazines and the right editors. It was more about pushing the PR side of things and working towards winter.
Were you pushing sales as well?
Right from the beginning, I’ve worked with Undergroup Showroom for PR and sales. I was like, “Look guys, I’m starting this thing but I want it to be a slow burning brand strategy. I don’t want to be titled as ‘the new kid on the block’ or ‘the one to watch’.” There’s so many people that come through with those headlines and vanish after a few seasons. For me it was about really establishing the ethos of the brand and working on sales as they come. It wasn’t so much sales just for the sake of to make the money. It was more about getting the right stores on board and not just taking any offer we got.
What was the biggest challenge you faced in putting together your first solo show at RAFW this year?
God, I don’t know where to start. There was a lot of pressure especially because of last year’s cancellation. I felt there was a sense of ‘you really need to pull this off’. A lot of people around me were [saying], “if you don’t deliver, you’re finished”. Then there’s that pressure you just have with yourself. Is this good enough? Is it relevant? All those questions. I think it’s really important finding the right team around you, creatively. I guess working towards finding people who can work with you creatively with putting on a show [is a challenge].
What kind of feedback did you get from buyers at this year’s RAFW?
There were buyers that really liked the leathers, but then there were some that said, “It’s summer, why are you doing leather?” It was very mixed. I understand. Although [the leather garments] looked extremely hard, they were sleeveless and they weren’t lined, so there was a lightness to it. But I take on all feedback I get. That sort of stuff for me is priceless. I love hearing what the buyers have to say.
Are there any other lessons you learned from Fashion Week?
Really edit what you show in sales appointments. I think for next time I’ll definitely be working on pieces that are more retail friendly for the sales appointments but not necessarily for the runway show.
You are choosing to have the label stocked in only one boutique in each state. Why?
There’s this whole thing with the stores wanting exclusivity so pieces will need to be split. You would rather have the collection sitting nicely together in one space so the customer can come in, see the looks, view the collection. It’s more for the convenience of the client.
What kind of hours are you putting into your label currently?
I’m here every day, Monday through to Sunday, at least 12 hour days.
How are you financing your label?
From my own savings. I have people helping me as well. It’s more family.
What is the biggest challenge you face going forward with your label?
Given the feedback from the buyers, I guess it’s thinking more of various types of women, not so one-noted. Trying to cater to different markets. It’s almost like that crossover – something the daughter would want to wear and something the mother would want to wear. It’s working on a product that can suit a [wider] taste.
What advice would you give to those hoping to start their own label?
I would say keep at it despite all the negatives and everything collapsing around you. Just keep at it.