For Ricky Wesley Harriott, design begins with a sentence, continues through fabric, and culminates in a stance. Each SRVC collection feels like a quiet yet seismic statement spoken on behalf of women. Because to Harriott, fashion is not just about what you see. It is about what you feel and what stays with you.
From children who once sought shelter in their mother’s dresses to women striding through the street in yellow lace suits like they are wielding invisible swords, this is a journey. Harriott is the one who lifts Kill Bill’s Beatrix Kiddo’s revenge uniform from the screen and places it on the pavements of Tottenham, bending silhouettes with rebellion and rebuilding them with intention. Every SRVC piece begins with a question: how do you feel? And the answer comes long before the mirror. Powerful.
SRVC has always felt like more than a fashion label. It is almost a language. When you began building it, what were you really trying to say?
Design has always been my way of communicating, a tool to express ideas I care deeply about and to highlight issues that resonate with me. With SRVC, it has become a platform to engage in a broader conversation about the empowerment of women today. Every decision is deliberate, from how we depict women to how garments are sculpted to honour their form and the visual contexts in which we place them.
SRVC functions as a language, one that speaks to the protection, amplification and celebration of women navigating the world with strength and presence. I do not see women as fragile, far from it. But I do see value in contributing to a visual narrative that frames them as emboldened, assured and without limits.
SRVC functions as a language, one that speaks to the protection, amplification and celebration of women navigating the world with strength and presence. I do not see women as fragile, far from it. But I do see value in contributing to a visual narrative that frames them as emboldened, assured and without limits.
You have mentioned how your mum used clothing as armour and how that shaped your understanding of fashion’s emotional power. Do you still consider what you are making today as a kind of protection?
Looking back, my mum’s approach to fashion was both fascinating and incredibly methodical. She became a mother as a teenager, so what I witnessed was a woman growing up, navigating womanhood through clothing at pivotal moments in her life. That evolution captivated me, even as a child. With limited means, her wardrobe was divided with intention. Garments were either for work or for going out, each piece bought with a specific purpose. That mindset instilled in me the belief that clothing should carry either emotional or functional weight. There was little room for frivolity, every item had to serve a role.
I believe my own appreciation for uniform and function stems from that, this notion of clothing as a form of protection. From a young age, I was acutely aware of her vulnerability. I saw life treat her unfairly, and in my practice, I reject the idea that clothing should ever make a woman feel exposed to harm or exploitation. Protection is, without doubt, one of the deepest emotional drivers in my design.
I believe my own appreciation for uniform and function stems from that, this notion of clothing as a form of protection. From a young age, I was acutely aware of her vulnerability. I saw life treat her unfairly, and in my practice, I reject the idea that clothing should ever make a woman feel exposed to harm or exploitation. Protection is, without doubt, one of the deepest emotional drivers in my design.
I have to say, some of the looks from Fall/Winter 2025 really stayed with me. That sculptural layering in Look 7 or the sharp blazer dress in Look 9 felt bold but still truly wearable. When you are creating pieces like those, are you thinking more about form or feeling?
Thank you so much, I am really pleased those elements resonated with you. That collection is one I feel particularly connected to. My creative process moves through distinct stages. It always begins with intention, often shaped by the brand’s core values. From there, I hand that intention back to the woman by asking questions. I rely heavily on the input of our female team members and the models we work with. Two questions I always ask are: How do you feel? and Are you comfortable? It is essential to me that my intention aligns with her experience, because if she is not comfortable, she will not feel free to fully be herself.
Another question I often bring to the team is: What would you think if you saw this woman on the street? If we are genuinely excited about that image, if she feels powerful, intriguing and unforgettable, then we know we are onto something worth sharing. For me, the balance between innovation and wearability is crucial. The pieces need to live beyond the studio. If they exist only for a photograph or a fleeting moment of hype, they lose meaning. I am far more interested in work that has longevity, design that earns its place in the world.
Another question I often bring to the team is: What would you think if you saw this woman on the street? If we are genuinely excited about that image, if she feels powerful, intriguing and unforgettable, then we know we are onto something worth sharing. For me, the balance between innovation and wearability is crucial. The pieces need to live beyond the studio. If they exist only for a photograph or a fleeting moment of hype, they lose meaning. I am far more interested in work that has longevity, design that earns its place in the world.
“Design has always been my way of communicating, a tool to express ideas I care deeply about and to highlight issues that resonate with me.”
That yellow lace-up suit from Look 15 also caught my eye. It has this fearless energy but still feels grounded. How did that look come together and what story were you hoping to tell with it?
That leather look was a lot of fun. It was actually a nod to Uma Thurman’s character in Kill Bill, easily one of my all-time favourite films. I adore it, and I wanted to reimagine that character so she could exist in our world, not just on screen. What I really enjoy about that look is the layering of references. We styled it with the ‘Tottenham Hot Girls’ T-shirt underneath, which grounded the whole outfit in something familiar and local. It made her feel recognisable, like someone you might actually know or pass on the street.
There was definitely a risk of it feeling too much like a costume, but Anna Trevelyan’s masterful styling brought a sense of realism to it. She has an incredible ability to root fantasy in reality, which gave that look and the entire collection a tangible sense of character and world.
There was definitely a risk of it feeling too much like a costume, but Anna Trevelyan’s masterful styling brought a sense of realism to it. She has an incredible ability to root fantasy in reality, which gave that look and the entire collection a tangible sense of character and world.
You often disrupt silhouette in unexpected ways. Nothing ever feels purely decorative. It is thoughtful, architectural, and even a little rebellious. What does the idea of form mean to you?
Form and silhouette are everything to me. How she stands, how her body is supported, the areas we choose to sculpt, highlight or reveal — it is all deeply intentional. We are not a brand that leans into prints, so our silhouettes carry the weight of the storytelling. They are central to how we communicate feelings and narrative.
Our editing process is quite rigorous. I often begin with maximalist ideas, garments that transform or serve multiple functions, but we usually strip a lot away. If a detail is not serving her or pushing her forward, it does not belong. That refinement is crucial.
I also love starting with menswear. There is something really satisfying about deconstructing traditional men’s pieces and rebuilding them on a woman’s body. It becomes an act of reappropriation, taking something that was not originally made for her and reshaping it into something she can fully own and thrive in.
Our editing process is quite rigorous. I often begin with maximalist ideas, garments that transform or serve multiple functions, but we usually strip a lot away. If a detail is not serving her or pushing her forward, it does not belong. That refinement is crucial.
I also love starting with menswear. There is something really satisfying about deconstructing traditional men’s pieces and rebuilding them on a woman’s body. It becomes an act of reappropriation, taking something that was not originally made for her and reshaping it into something she can fully own and thrive in.
There is an ongoing dialogue in your work around function and transformation. Garments adapt, fold, restructure. Do you picture a specific kind of person wearing SRVC or is it more about opening up the possibilities?
I think my interest in functionality comes from a personal decoding of menswear traditions. In men’s clothing, there is often a clear emphasis on what he needs, a direct response to practicality. In contrast, women’s fashion has historically centred more on what others want her to need. Because of that, functionality in womenswear still feels relatively underexplored. I really enjoy designing pieces that offer choice and space for self-styling. It gives the wearer a sense of agency and allows the garment to become something that genuinely belongs to her.
“The balance between innovation and wearability is crucial. The pieces need to live beyond the studio. If they exist only for a photograph or a fleeting moment of hype, they lose meaning.”
Your casting always feels intentional. Not just models but individuals with presence. How do you approach creating the world around each collection?
I have been fortunate to work with some incredible casting directors, and I have always been clear about one thing: the cast needs to feel like a community. It has to be diverse, it has to be honest, and it has to feel recognisable. I am also passionate about including people from my own circle, friends and creatives who directly inform my practice. At the same time, I love bringing in people I do not know personally but deeply admire. For me, casting should be an extension of the intention behind the work. The clothes and the cast need to exist in a real, symbiotic relationship.
You have spoken about sketching characters from games like Final Fantasy when you were younger, reimagining their clothes. Do those imagined heroines still live in your head when you design now?
I still play video games and watch anime, but over time my focus has shifted. With age and life experience, I have become much more rooted in the fantasy of reality. When I was younger, I often escaped into fantasy as a way to avoid certain things. Now, I find myself more invested in engaging with reality and exploring it through my work. Those early influences are still a part of me, but the way I channel them has definitely evolved.
What is something completely outside of fashion that you find consistently inspiring, something that catches you off guard and makes its way into your work?
Outside of fashion, music is probably the thing that moves me most. It is hard to explain. When I hear music, I see images. I always have something playing, and I am constantly inspired by the performance and presence of my favourite artists. I have albums I turn to when I am angry, when I need confidence, or when I want to feel creatively charged.
In terms of how it connects to my work, I think I often associate certain music with how I envision the SRVC woman, how she walks, how she dances in a club, how she exists in motion. Some of my most inspiring moments are simple ones, being with friends, playing music loudly in someone’s home, dancing together. There is something powerful in that energy, it always finds its way into the work.
In terms of how it connects to my work, I think I often associate certain music with how I envision the SRVC woman, how she walks, how she dances in a club, how she exists in motion. Some of my most inspiring moments are simple ones, being with friends, playing music loudly in someone’s home, dancing together. There is something powerful in that energy, it always finds its way into the work.
In an industry that is always asking for the next thing, how do you protect the core of SRVC while still allowing it to evolve?
The industry asks a lot of creatives, some of it necessary, some of it not. One of the most important things you can do for your practice is to learn to tune out the noise. That is not easy, especially when you naturally want to feel seen and valued within the industry you are part of. But I have found that if you stay focused on your intention and remain authentic in your approach, people eventually catch up. I would much rather set the pace than follow one. For the sake of my own health and wellbeing, it is important that I evolve in service of the brand, not just in response to the industry.
“When I was younger, I often escaped into fantasy as a way to avoid certain things. Now, I find myself more invested in engaging with reality and exploring it through my work.”
SRVC feels rooted in the now but never chases trends. Do you think about longevity when you are designing or does that come naturally by staying honest?
I have no real interest in trends. If I happen to intersect with something that is culturally relevant at the moment, that is great, but it is never the goal. I do not believe you get very far by chasing what you think is next outside of your own creative intention. I focus on ideas I can stand behind both conceptually and visually. Quality and longevity are always at the front of mind.
I think a lot about how clothing lives with someone, how it moves with them and becomes part of their story over time. We all have those pieces we just cannot let go of, no matter how much time passes. I find that kind of emotional durability really beautiful. That is the space I want to create from, not ‘what is hot right now’. I have no interest in putting a shelf life on my ideas.
I think a lot about how clothing lives with someone, how it moves with them and becomes part of their story over time. We all have those pieces we just cannot let go of, no matter how much time passes. I find that kind of emotional durability really beautiful. That is the space I want to create from, not ‘what is hot right now’. I have no interest in putting a shelf life on my ideas.
You have said the first question you ask someone in SRVC is ‘how do you feel’ before they even see themselves in the mirror. Has there ever been a moment when someone’s response really stayed with you?
I love asking that question because we often have a preconceived idea of how a garment looks before we even see ourselves in the mirror. That intuition, how something feels before it is visually confirmed, is really compelling to me.
I remember during a production fitting, I asked a model how she felt in the piece, and she said: I really want to see, but I know I look strong. I feel so strong. That moment stayed with me. It made me so happy, because before vanity or aesthetics came a deeper, more powerful feeling. That is what I want to create, pieces that allow that sense of strength to be felt before it is even seen.
I remember during a production fitting, I asked a model how she felt in the piece, and she said: I really want to see, but I know I look strong. I feel so strong. That moment stayed with me. It made me so happy, because before vanity or aesthetics came a deeper, more powerful feeling. That is what I want to create, pieces that allow that sense of strength to be felt before it is even seen.
Looking ahead, what are you most excited about, not just for SRVC but for yourself as a creative navigating this shifting fashion landscape?
Looking ahead, I am excited to keep pushing the boundaries of what womenswear can mean, especially in how we approach it visually and through the integration of new developments and innovations. The ways we can construct garments and the technologies we can now incorporate are expanding rapidly, and that potential feels incredibly energising.
More than anything, I hope that one day I can look back and feel I contributed to reshaping the possibilities of women’s dress, not for the gaze of others, but entirely for themselves. Wherever I continue to practise this craft, there will always be a core set of values I carry with me. My hope is that those values can evolve and expand to create meaningful impact. And ultimately, if women can look at my work and feel that I contributed something positive and lasting to their lives, then I will know I have done my job well.
More than anything, I hope that one day I can look back and feel I contributed to reshaping the possibilities of women’s dress, not for the gaze of others, but entirely for themselves. Wherever I continue to practise this craft, there will always be a core set of values I carry with me. My hope is that those values can evolve and expand to create meaningful impact. And ultimately, if women can look at my work and feel that I contributed something positive and lasting to their lives, then I will know I have done my job well.
