Can we talk about these distinct gang aesthetics though?
These two gangs are clearly set together to be contrasts, with one side having on the surface a chaotic, even perverse, aesthetic whilst the other gives the pretense of being more dignified and civil. One populated exclusively by men, the other (at best guess) dominantly by women.
But what's fascinating is going a step deeper.
Let's start with the left gang, which is led by chem-baron Chross. Their aesthetic is meant to evoke bouncers, barstaff, and general wait-staff at classy establishments. With their strong metal chins, pince nez glasses, and canes they're also clearly trying to give an air of being likewise dignified, perhaps even noble, themselves.
But this clashes with a couple small details about their appearance. Firstly, they're almost entirely uniform, with only minor details like neckerchief or moustache style actually differentiating them. This may in fact be a contributing factor to why they are quite literally numbered with tattoos on their foreheads. Lastly, as we learn when they engage Jinx later in the episode, those metal chins aren't just chins, they actually seem to replace their mouths as well. Meaning that as part of their uniform membership in Chross' gang, these guys have sacrificed their self-expression, their identity, and even their voice.
They are the model of self-repression for the sake of inclusion in an in-crowd. Chross himself, quite pointedly, almost lacks a chin entirely. He gets to speak, you get to listen.
Then there's the right gang, led by chem-baroness Margot.
Obviously, these figures (I'm avoiding saying women here given their aesthetic basis and just how little we get to see of them by comparison) are dressed up in leather-play kink fashion.
Their head coverings might be dominatrix articles or just as easily submissive (I am not remotely versed enough to know which for certain). Margot's gang canonically operates brothels and pleasure bars, so it's conceivable that for them this is quite literally a uniform. One can almost imagine this confrontation being sparked between establishments directly opposite one another on the same street.
Margot's gang is expressive, opinionated, diverse, and colourful. Held together by mutual interests and circumstance more than a collective group identity as one might suggest of Chross' gang.
What's interesting however is that despite the identity-repression involved in submissive kink play, Margot's gang actually has a wealth of visual diversity. The majority of the uniforms are the same, but there's a diversity in bright hair colours, the styling of it, their makeup, small details on their uniform (studs vs spikes, etc), possibly skin tone (it's a little hard to tell given the lighting), and especially body type amongst their ranks. The lead member blowing a kiss is heavy-set whereas the disgusted peer to her left is lithe.
This contrasts strongly with the uniformity of Chross' gang, who are practically carbon cut-outs. Despite being likewise in uniform, Margot's gang has worked in self-expression wherever possible and notably retain their voices, as represented by their mouths being wholly unobscured.
There's likely also something to be said about LGBT+ representation here. It's a standing grievance raised about Pride about kink, often in leather or latex (if you're feeling particularly dedicated on a summer afternoon), being present in public. Chross even explicitly describes Margot's affairs as being a "boulevard of filth". Margot is open and affectionate, while Chross plays the businessman only concerned for his establishments and ventures.
So it's easy to imagine that Chross' gang picked this particular fight over prudish ideals and maintaining a civilised upper-class facade, whilst Margot's gang rose to the challenge.
Margot even explicitly states that Chross' gang started the turf war by attacking one of her establishments.