Aaron Esh Throws Fashion’s Loudest Party at London’s Oval
From bespoke suits to bass-heavy beats, SS26 marked a bold new chapter for one of London’s most magnetic designers.
There was no runway last season. Instead, Aaron Esh gathered a tight circle for an intimate dinner, quietly unveiling a capsule of ten dresses. But for Spring/Summer 2026, he flipped the script. This time, Esh commandeered the now-defunct Oval nightclub in Bethnal Green, turning the legendary venue into the stage for his largest and loudest show yet: a 34-look collection followed by an afterparty that stretched into the night.
Arriving for the show, you couldn’t miss it. A black-clad crowd of London’s fashion vanguard - fag in one hand, phone in the other - swarmed the entrance, signalling something was about to go down. And then, it did.
Opening the show was Lux Gillespie - founder of Post Party and music director for the night - strutting to the distorted bass of Esdeekid’s underground anthem Phantom. The soundtrack, like the collection, was unapologetically loud, eclectic, and rooted in subculture.
Tailoring took centre stage. Esh collaborated with Savile Row-trained tailor (and family friend) Charlie Allen on four bespoke double-breasted suits - a sharp counterpoint to the more subversive pieces that followed. Suede field jackets (one in a standout marmalade hue), tight leather trousers, and graphic tees creased just so continued his blend of East London irreverence with traditional menswear codes. Think trench coats styled with Post Party x Aaron Esh baseball caps, and the sort of casual-yet-studied layering that feels uniquely native to his world.
Footwear made its debut, a first for Esh, in collaboration with Zara, and models were styled with backstage passes to tomorrow’s Post Party x The Face event, a knowing nod to the brand’s cultural ecosystem. While the collection leaned into menswear archetypes, Esh was quick to clarify: “It’s not a gender thing, it’s a wardrobe thing.” Still, he admitted to a certain charm in the women’s looks “not feeling overly feminine.”
One standout moment? A grey coat with feathers unfurling from the lapel - not ostrich, but chiffon - a concept dreamed up by an ex-Chanel designer now working on the Aaron Esh team. That level of detail was everywhere: a herringbone tweed jacket encrusted with hand-cut black sequins, and meticulously basted and embroidered jackets constructed, Esh says, “exactly as they’d do it at Chanel.” Before the show, he told Dazed about the “almost nerdy things” he obsesses over: ultra-thin pockets on track jackets, or perfectly covered buttons on outerwear.
Another show-stopper was an oversized single-button tuxedo jacket with a sharply defined waist, worn over second-skin leather trousers - a look that balanced drama with discipline.
The casting was just as precise. Maya Wigram (daughter of Phoebe Philo), Ned Sims (son of David Sims), and Wolf and Lux Gillespie (sons of Katy England and Bobby Gillespie) all walked. England herself styled the show. And the front row mirrored the runway: The Face’s Matthew Whitehouse, Ashantéa Austin (mustbemargiela), and former Burberry CEO Jonathan Akeroyd all sat shoulder to shoulder.
If there’s a common thread in the Aaron Esh universe, it’s this: a magnetic pull toward London’s cool kids and fashion’s new-school aristocracy. Nepo babies and underground icons, side by side - and it works. Vogue France’s Dan Sablon hailed the night as “a cultural moment,” Nordstrom’s Rickie De Sole dubbed Esh “an exciting talent,” and Rolling Stone, along with Austin, called the soundtrack the best of London Fashion Week.
Aaron Esh isn’t just making clothes, he’s building a world. And right now, everyone wants in.