From Kerala to latex: The unexpected rise of London-based designer Harry Keyes

Harikrishnan Keezathil Surendran Pillai, or Harry KS, is no stranger to latex. long time ago KeralaThe born designer founded his label Harry after graduating from London College of Fashion’s Master of Arts Fashion Design Technology (Menswear) program in 2020. He was helping his father Surendran Pillai on his small plantation (less than an acre) in Kollam.

The process was straightforward. “In Kerala, latex production is part of everyday life,” he says. “You tap the tree in the morning, collect the latex, start making sheets by afternoon, and then dry and cure them over time to create the final raw material.” He is quick to explain the difference: What his father produces is raw, agricultural latex, largely for industrial use. “I use fashion-grade latex for my clothes.” Hari’s work is known for his sculptural, inflated latex costumes, particularly the now recognizable balloon trousers.

In KeralaRubber is not a formal plantation economy, but a dispersed household economy. Introduced in the early 20th century, this crop thrives in the humid central regions of the state. According to the Indian Rubber Board, most of India’s natural rubber is found in Kerala – once more than 90%, now closer to three-quarters as its cultivation has spread elsewhere. Most of it comes from small holdings, often hidden in the backyards of districts like Kottayam and Kollam, where production is a matter of everyday life.

Harry did not set out to become a designer. If anything, he was trying to break free from the expectations that society placed on him to become a doctor or an engineer. His initial ambition was to leave home after finishing school at St. Jude’s in Kollam. Admission to the National Institute of Fashion Technology in Bangalore in 2012 became, as he says, “that exit”.

However, before fashion, there was bodybuilding – a discipline he pursued seriously in the years before the move. It was here that the foundation of his design language was laid. “When you’re in that world, you really start to understand and appreciate form, because bodybuilding is all about that,” he says. The practice demanded an attention to proportion and symmetry that would later be implemented in his work. In Kollam, this was never seen as a viable route. “My parents didn’t see bodybuilding as an option,” he recalls, describing early mornings in Bengaluru, waking up at 5 a.m. to train even before his first day at NIFT.

The philosophy behind bodybuilding remained the same. “It’s about constantly chasing a version of yourself that feels impossible. You’re never really satisfied,” says Harry. He realized that fashion also follows a similar rhythm. Every collection seems certain until it isn’t. “When I finished my graduate collection, I thought, ‘This is it.’ But then, a few years later, something new happened,” Harry recalls.

That graduation collection, Let’s Put Her in a Vase, proved to be a turning point. Developed at the London College of Fashion, this came without expecting much from those around him. “Many of the people I was studying with were surprised that it did this,” he says. The reaction was immediate. The images spread quickly, the work attracted attention, and what had begun as a personal practice became widely visible.

“It’s great that London rewards people who take risks,” he says. That initial recognition turned into more formal support. Harry became part of the British Fashion Council’s NEWGEN programme, which provides funding, mentorship and a platform within London Fashion Week.

Since her debut on the London schedule in 2023, she has shown six runway collections, the latest of which is her Spring/Summer 2026 outing, Museumwear. The collection’s pieces play into familiar categories – bomber jackets, long coats, denim sets, tailored trousers, knitwear – but they’re all a little unsettled, as if he hasn’t let them sit comfortably in their usual roles.

Latex, which once dominated his work, is still present but redistributed. It shows up in puffed sleeves on simple T-shirts, in the structure of jackets, and on surfaces that catch light differently depending on how you walk. It is no longer the entire garment but a disruption within it.

There’s a noticeable emphasis on denim this season – printed, washed, and sometimes layered – with leather pieces and soft knits forming the foundation of the collection. The silhouettes are broader but less extreme than before: wide-leg trousers, boxy outerwear, and shoulders that maintain shape without bending into caricature.

“Latex is not just tied to the usual associations of fetish or excess; it is a material that shapes the body in a precise, almost architectural way. That relationship to form remains the core of my design language. At the same time, there is a growing openness to making clothing more commercially viable, allowing the work to move beyond certain pieces that may exist within the wardrobe, even if a little inconvenient,” he says, “Latex is quite a sought-after material. Doesn’t behave the same way – you can’t rely on it falling naturally. It’s about creating shapes, joining them together, and shaping them. The shine that people add is not inherent, so there’s a whole finishing process that becomes part of the garment,” says Harry.

on the global stage

Moments such as Sam Smith presenting his work at the Brit Awards 2023 provided initial momentum for the label. He talks about these moments without romanticizing them. “It’s a big push, because it accelerates and validates your practice,” he says, describing it as an investment rather than an endpoint. Harry’s work extends beyond the runway to institutions and pop culture. In 2025, he presented his largest inflatable piece to date at the Victoria and Albert Museum’s Late Friday programme, and it was included in the Design Museum’s 30 Years of London Fashion exhibition. He has also worked in music and television, designing costumes for Katy Perry’s Lifetimes Tour and contributing to Björk’s Faro visuals.

If anything, that early visibility had a grounding effect. “It was rewarding to see that what you’ve created is being appreciated,” he says, while also recognizing how quickly attention can shift. He has a clear vision of what’s next. The brand has a desire to grow, sell and move beyond the runway, even if it maintains a certain distance from fashion culture. “I have no connection with the fashion culture,” he says, adding that it originated in Kerala, where clothes had little social significance. “What’s important is how good you are at what you do,” says Harry.

He emphasizes that his practice is not about fashion in the traditional sense, but about creation and understanding how something is made, and then passing it on. Today, the label is selectively stocked in international markets, including H.Lorenzo in Paris and retailers in South Korea, extending its reach into the global retail circuit beyond the London system.

After graduation, he moved to Delhi, where he worked for a while with fashion designer Suket Dhir, an experience that introduced him to the mechanics of the industry. Today, his work spans many geographical areas. Latex is mainly sourced from Malaysia, while denim is grown throughout India – Ahmedabad, Chennai, Bengaluru and Mumbai.

He returns to Kerala once or twice a year, though not for inspiration. “When I’m there, I take on the role of a son – I’m not a designer,” he says. The distance is deliberate. This allows him to detach and then return to his work with a different perspective.

As his practice grows, he continues to navigate the structure of the fashion system – the seasonal cycles and demands of ready-to-wear – while working with materials that resist strict seasonality. For them, latex has a seasonless quality, which allows a certain flexibility in business operations.

“At this stage, it’s less about scale. The goal is to grow the work rather than focus too much on the outcome.” He says.