Kestin Hare on SS25: A Fresh Take on Heritage

In this exclusive interview, Kestin Hare takes us behind the scenes of his Spring Summer 2025 collection for Henri-Lloyd.

Kestin Hare has dedicated his life to his craft and perfected his skills over a 25-year career working for some of the industry’s top brands, including Burberry, Margaret Howell, Berghaus, and, most importantly, his own eponymous brand, KESTIN, which he has nurtured for the past 10 years. A trained menswear designer, he earned his degree in fashion design at Northumbria University.

He believes that the influence of lecturers and peers plays a significant role in shaping one's career. He was fortunate enough to be inspired by several lecturers who had experience in the industry before transitioning to teaching. One particularly impactful lecturer, who taught him pattern cutting, had a husband who was the head of design at the vintage-inspired brand Nigel Cabourn, based in Newcastle. This connection introduced him to Gary, who is now the Head of Collaborations at Barbour, and it was through Gary’s guidance that he began to truly understand the ins and outs of the fashion industry.

His exposure to vintage clothing, which had always been present in his life, became a major design influence when he worked there, cementing his passion for the aesthetic. Eventually, he became Head of Design at the company, where his design foundations were solidified—respecting heritage while pushing it forward and making it new.

What was your primary inspiration behind the Spring Summer 25 collection, and how does it reflect Henri-Lloyd's rich sailing heritage?

Digging further into the Henri-Lloyd archive and understanding further in to the DNA of the brand, I came across the Nautique jacket, which to me summed up everything about Henri-Lloyd in the summer.

I was originally attracted to the unique navy and white colour blocking: for me this is the epitome of nautical heritage. Henri-Lloyd was one of the first sailing brands to use colour blocking in this way, setting the tone as a look globally. I also loved the clever detailing and its rope, compass and crown embroidery on the arm patch. I’ve since collected different variations of this jacket for the archive, with higher levels of detail and extra chest pockets that have then been used across the collection.

This style has spurred on a fresh approach to colour blocking for Summer, with sun-bleached fabrication finishes, giving the collection a soft, lived-in, distinctly Henri-Lloyd character. Other jackets and fleeces from the same period have helped shape the collection, offering updated versions of the original styles, such as a colour blocked Foremost Shell 3-layer and tonal modern versions for the purists.

As someone who works closely with Henri-Lloyd’s archive, do you have a favourite item from the brand’s history that personally resonates with you, and how does it influence your design approach today?

If I had to pick just one, it would be the RWR. When Olmes Carretti developed it from the Consort Original it became bigger than just a jacket. What I liked about it was that it was designed for sailing, super functional, but adopted by youth culture. I like it when heritage brands are adopted and become synonymous with a brand. Olmes’s take were very bright and of the time, I wanted to take the contrast colours and make them more modern and wearable for today.

What elements of the Henri-Lloyd archives stood out to you, and how did you decide which ones to preserve and which to evolve?

There are different periods of the HL archive, but we concentrated on the iconic styles such as the RWR, the Jib, the Viking Smock. The Sailing jackets and knitwear, that were signature to Henri-Lloyd were the focus, the hard ware, the direct embroidery, the shape and silhouette. This built the foundations for the new Henri-Lloyd lifestyle collection. Once you capture what is signature brand DNA, you respect that and reimagine the other malleable elements such as fabrication and colour and application to modernise and make it new.

What role do textures and fabrications play in this collection, and how do you choose materials that align with the brand's identity?

The brands identity was always tough and durable and textural, and in some cases two tone. And we wanted to mirror that, and bring this back but in a modern nautical way. Performance and sustainability are key.

Can you walk us through the thought process behind the colour palette for this collection?

The colours came from the Nautique jacket that was colour blocked with Nany/White and Green. We then used vintage pieces that had been worn on boats in the sun and had become sun bleached we wanted to replicate that look and feel.

Can you explain the significance of the navy and white colour blocking in the Nautique jacket and how it ties into Henri-Lloyd’s history?

I was originally attracted to the unique navy and white colour blocking; for me this is the epitome of nautical heritage. Henri-Lloyd was one of the first sailing brands to use colour blocking in this way, setting the tone as a look globally. I also loved the clever detailing and its rope, compass and crown embroidery on the arm patch. I’ve since collected different variations of this jacket for the archive, with higher levels of detail and extra chest pockets that have then been used across the collection.

In terms of fabrics and materials, what did you prioritize for this collection to ensure it stays true to Henri-Lloyd's nautical heritage while feeling fresh and modern?

Responsible fabric sourcing is always key and this season the Nautique and the Foremost Jacket are constructed from a blend of recycled nylon and SEAWASTEX®. Recycling fishing nets under the SEAWASTEX® brand name, the business takes 100% waste fishing nets – those no longer serviceable, and ghost nets from the sea – and turns these into 95% usable recycled material.

Active shorts are made from SENSIL® Nylon 6.6, the highest quality manmade fibre, with a stronger, softer, better look and feel. SENSIL® has a more appealing luster and better longevity than Nylon 6. It’s ultra comfortable, making it perfect for next-to-body garments. It offers superior performance, with inherent odour control, temperature and moisture management, durability, tactility and comfort.

Henri-Lloyd has always been known for high-performance outerwear. How do you balance functionality with aesthetics in this collection?

Design-led performance clothing is at the heart of Henri-Lloyd, it’s what it was built on. If something looks amazing but doesn’t work what’s the point. The two must be considered at all times.

What is your favourite piece from the collection and why?

Probably the Nautique jacket which is the inspiration behind the collection.