Yuhan AO SS27

No Longer Guided

Writer: Ruby May Britton

Established in 1869, the ‘Old Tin Tabernacle’ in Notting Hill has since hosted countless historical and iconic events. On Saturday the 19th of September, Yuhan AO’s Spring/Summer collection No Longer Guided joined this long history of spectacle.

Raised in Jiangxi, China, in a linen factory where his grandmother meticulously spun hemp, Yuhan Ao is no stranger to the value of dedicated craftsmanship and physical labour. His long-standing relationship with hand craftsmanship feels particularly present in his collections, where precise detail simply demands your attention. This season marks Ao’s third London Fashion Week since the launch of his eponymous label in 2024. Having seen this show, however, one would assume that he is a seasoned veteran. Since having the privilege of feasting my eyes on this collection, I can safely say that Ao is one to watch.

As the eerie melody drifted into the room, it became abundantly clear that this show was going to be different. The intricate woodwork of the staging gave the collection an undeniable Gothic sensibility. Within the Gothic genre, the setting itself becomes part of the story, and this certainly came into play for Ao. The first model appeared at the wooden stairs and began his descent, as if emerging from an ancient tower.

This was no rushed catwalk. This was slow and intentional.

Each model appeared to float across the floor. Their deliberate pace allowed the audience to take in each piece one by one, to truly appreciate the labour of love behind each look. Perhaps, that is what makes a collection truly memorable. When the clothes stay with you long after the models have left the runway. Each look from No Longer Guided is still etched into my mind, and, quite frankly, I’m not mad about it.

Edwardian collars and ruffles met carefully tailored shorts and jackets, reminiscent of garments worn by the upper class centuries ago. Yuhan Ao has borrowed from these traditions, but is not bound by the rigidity of fashion from these eras. The collars and neckpieces are perhaps what caught my attention the most. Each was different, yet entirely cohesive, and felt very appropriate considering their resurgence in popularity in our current fashion climate. It was, in fact, quite enthralling to see how the designer played with current trends. Where some chose to go futuristic, Ao seems to be inspired by the past.

Although this collection may be for Spring/Summer, the long sweeping trenches and fitted jackets made me want to wear it right this minute as we head into autumn. A gorgeous, checkered trench coat happened to be featured in my favourite look, which was expertly placed as the final piece. The entrancing model sported a blonde, Marilyn-esque bob which instantly stood out against the distressed braid which appeared in many of the other ensembles. Accompanied by red leather gloves, this look was evocative of a protagonist from a murder mystery, and I could not have been more intrigued. As a former English literature student, this collection felt almost tailor-made to my sensibilities.

Caught somewhere between the past and the present, it was so beautifully haunted.

RUNWAY PHOTOGRAPHY: HEO JANGBEOM

SHOW STYLING: MAO MIYAKOSHI

MAKE UP: NEUSA NEVES

HAIR: KEIICHIRO HIRANO

CREATIVE&ART DIRECTOR: YUHAN AO

SET DESIGN: TONY HORNECKER

VENUE: CRAMER ART GALLERY

CHOREOGRAPH: TED ROGER

SHOW PRODUCER: MEIHUI LIU

SHOW BRAND MANAGER: YUTIN YANG

VISUAL DIRECTION & PR: JESSI LIN