High-tempo, high-gloss, high-craft. The final show of the day, Aaron Esh’s models stormed down the runway: places to be, late to the party, on a mish. You could picture them minutes before: rifling through clothes, trying things on, chucking things off, searching for that look. And it was worth it, because in Aaron Esh’s SS26 collection, they struck gold.

There’s real romance to Esh’s craft, a shimmering energy that only works when it works. It’s very London, and very now – although delicately layered with previous eras: the grit and glam of 90s Soho, the bite of early-00s rock ‘n’ roll, and the polish of mid-century suiting. The press release noted how London designers are often pigeonholed as eccentric and DIY – very true – but Esh has quickly established a technical finesse that raises the stakes – rooted in Savile Row tailoring and East End leathercraft. The first look, worn by friend of the house, Lux Gillespie, set the beat: a leather blouson jacket with ribbed hems, a crisp black shirt, trousers cut like the perfect pair of jeans, and black boots just about visible underneath. It was very Aaron Esh, very Lux Gillespie, and very Bobby Gillespie, who sat front row. From there, the collection unfolded in signature rhythm: trench coats in slinky nylon, cinched at the waist with exaggerated lapels; distressed denim; suede MA-65 field jackets; chiffon feathers shredded by hand to mimic a beloved vintage tee; and immaculate leather jackets that become the most treasured family heirloom, passed down through generations, each carving their own bespoke battle scares into its fabric. In one of the most personal touches, the double-breasted tailoring – an Esh signature – was cut in Highbury by Charlie Allen, the same tailor who made the designer’s father’s wedding suit.

In a world with far too much viral noise, Esh offers something with feeling: when show meets soul, you have something special.