To cap off a jam-packed London Fashion Week, British talent Aaron Esh, one of this year’s LVMH finalists and a graduate from Central Saint Martins’s MA course, provided a riveting spectacle for his first standalone show. The designer delivered an exacting level of refinement combined with a new-era-club-kid mood. “It’s sleek minimalism through a London-centric lens,” he said of his aesthetic after the show. “All of the looks are characters you’d see at the same party—perhaps a CSM gathering in the late hours.”
As attendees settled into their seats on the sixth floor of the Tate Modern’s Blavatnik Building—which boasted polished wooden floors, stark yet weathered white walls, and a glorious backdrop of St. Paul’s Cathedral on the skyline—a serene atmosphere enveloped the space. However, this tranquility was soon disrupted by an unnerving and exhilarating soundtrack, ingeniously curated by renowned London DJ John Gosling. This set the tone for Esh’s collection, Chaos and Control, which showcased a dynamic interplay between elegance and ruggedness.
While the garments were shown on men and women, each piece felt like it came from the same distinct wardrobe—one that’s fluid in its cuts and silhouettes. There were exquisitely crafted silk bombers, halter-neck vest tops, and louche, wide-leg trousers that felt particularly androgynous. Even a bouclé jacket and balloon-hem miniskirt set, as well as effortlessly draped jersey dresses (some of which were held together by a single seam), could be seen on any stylish individual in East London on a Friday night. But according to Esh, notions of gender were not deliberately at play here. “There’s been misconceptions about the brand and gender—it’s about fluidity in the most nongendered way,” he said. “I wanted to build a wardrobe that centers around a modern way of dressing, so it doesn’t matter if it’s a man or woman that’s wearing the pieces.” Elsewhere, button details were covered in fabric to mimic a high-octane, couture-like sensibility. Boot-leg jeans and logo-adorned baseball caps, on the other hand, added an everyday layer for equilibrium.
A sense of community could be felt reverberating through the collection. For the occasion, the designer rounded up his nearest and dearest, who happen to be some of London’s most promising talents, to help pull together the show. These included stylist Jack Collins, art director Jamie Reid, casting director Najia Li Saad, hairstylist John Allan, and makeup artist Ana Takahashi. Esh’s girlfriend, Fiona Hartley, the digital director at System magazine, played an integral role—albeit “subconsciously,” according to the designer—with one look emulating her recognizable style. “I’m lucky to have incredible people trusting in me and protecting me,” said Esh. “And these are the people that I believe are some of the best up-and-coming names right now.”
Following the show’s finale, the crowd engaged in a spirited discussion about the electrifying experience and applauded the designer for his uncompromising vision. They also commended the astute decision around the venue, which provided ample space for the garments to shine. Next season all eyes will be on how Esh plans to further evolve his lustrous interpretation of London’s underground aesthetic.