here’s something unexpectedly fitting about holding a fashion show in a school. Not a polished, purpose-built venue, but a place with worn floors, layered history and that lingering sense that something is always about to happen.

Kearns drew inspiration from the Night Climbers of Cambridge, a group from the 1930s who climbed college rooftops under cover of darkness and documented their adventures under the name Whipplesnaith. It wasn’t about spectacle but about the quiet thrill of seeing the familiar differently. That idea runs through the collection. As Kearns put it, he was interested in the tension between reverence and irreverence, respecting tradition while gently shifting its perspective.

That approach plays out in clothes that don’t reject rules outright, but don’t fully follow them either. Think a loosened tie at a formal dinner or an outfit that almost meets the dress code but deliberately falls short in just the right way. The setting helped bring this to life. With its mix of medieval details and Victorian touches, the school gave the collection a sense of context. These weren’t just clothes on a runway, they felt lived-in, as if they belonged to a certain kind of life.

Tailoring was sharp but never rigid. Slim suits were clean through the shoulders but softened by fabric choices and construction that allowed movement. Cropped trousers, seen throughout in navy and charcoal, grounded the collection and gave Kearns room to experiment elsewhere, especially with shirts that played with volume and proportion.

Outerwear is where things became more expressive. Trench coats appeared in glossy patent leather, lending them a cool, after-dark quality. Capes with pleated collars, inspired by academic gowns, felt both studious and a touch dramatic without tipping into theatricality.

Knitwear, always a key part of the brand’s identity was handled with ease. Cropped crewnecks, Aran knits featuring the house’s rose and lion motifs and slightly undone pieces brought a sense of familiarity. Layered over shirts and ties, they relaxed the formality rather than erasing it. Small details, like brooches shaped like sporting or military insignia, added personality without feeling forced. The colour palette, moving through lilac, corn yellow, raspberry and burnt orange, softened the traditionally collegiate mood and made it feel more relaxed.

The womenswear stood out for its personal touch. Princess coats with velvet collars were inspired by Kearns’ daughter’s school uniform, giving them a quiet authenticity. Ribbed knit minidresses felt light and energetic, while accessories like rugby ball-shaped bags and fringe-detailed loafer earrings were charming without trying too hard.

A hundred years in, Kent & Curwen could have simply celebrated itself. Instead, the collection asked a more interesting question about what tradition actually means. The answer wasn’t about preserving it exactly as it is, but about using it as a starting point. Something to reinterpret, question and when the moment feels right, approach from a completely different angle.