Christopher Esber’s third showing in Paris presented a fascinating study in contrast, a collection that sought to marry the fluid gestures of flamenco with the structured elegance of 1920s silhouettes, all while hinting at the laid-back essence of surfer culture.
The ambitious vision, originally set to unfold within the warm, sepia-toned embrace of the Palais de Tokyo, was intended to play with the interplay of light and shadow, using transparent coffee-toned panels to filter the Parisian sunlight. However, as is often the case with outdoor shows, the capricious weather of the City of Light had its own agenda, leaving the designer to rely solely on the strength of his designs to set the mood.
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