That is how Irish fashion designer Robyn Lynch describes her eponymous brand. From Malahide to Dublin and now, London, Lynch is unafraid to wear her Irishness on her own sleeve, whilst weaving in memories of her upbringing into the sleeves of all her collections.
Since graduating in 2019 from the University of Westminster, Robyn has carved out a space in contemporary menswear that feels personal, yet universal. Clothes that are lived in, purposeful and full of identity.
With recent milestones including designing uniforms for the Guinness Storehouse, a collaboration with footwear brand Geox, and her first out-of-home campaign, courtesy of UNCLE, the Robyn Lynch brand continues to evolve – with a focus on continuity rather than reinvention.
For London Fashion Week, UNCLE spoke to Robyn about memories of Malahide, communities within London (including where to find the best pint of Guinness), and why building a people’s wardrobe will always matter more than chasing spectacle.
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02.26 Irish designer Robyn Lynch walks her wardrobe into the streets for AW26
“Real culture and real clothes, inspired by real people.”
TO START, HOW WOULD YOU DESCRIBE YOURSELF IN YOUR OWN WORDS – BOTH PERSONALLY AND AS A DESIGNER?
Personally, I’m quite pragmatic and observant. I’m interested in how people actually live, what they wear day to day, how clothes function in real environments, and the small details that make something feel right.
As a designer, I focus on utility, authenticity and storytelling. I’m interested in clothes that feel lived in, purposeful and connected to identity.
YOU GREW UP IN THE COASTAL TOWN OF MALAHIDE, STUDIED TEXTILES IN DUBLIN, AND THEN MOVED TO LONDON TO CONTINUE YOUR EDUCATION. HOW HAS YOUR HOMETOWN ENVIRONMENT SHAPED YOUR WORK?
I think the people I grew up with shaped my work more than the place itself. Malahide is beautiful, but it’s my friends and the memories that feed into each collection.
A lot of the work comes from nostalgia. Funny stories, the brands we used to wear, how we styled things together. Those memories often shape the direction of a collection and even the dream collaborations I want to pursue.
FROM MALAHIDE TO DUBLIN TO LONDON, IS THERE ANYTHING YOU MISS ABOUT THE IRISH DESIGN ECOSYSTEM?
I miss the ease of community and the willingness to help. When you grow up somewhere, you naturally have a network around you.
Starting out in London meant building all of those relationships from scratch, which is challenging. But it’s also a necessary part of growing independently.
CAN YOU REMEMBER THE MOMENT YOU FIRST DECIDED YOU WANTED TO WORK IN FASHION? WERE THERE ANY OTHER CAREER PATHS YOU CONSIDERED?
It felt quite instinctive. Each stage of education naturally led into the next, and the brand grew from that process.
When I graduated in 2019, I had the opportunity to continue developing the work and focus on championing an Irish voice within contemporary menswear. At the time, there wasn’t really anyone operating in that space, so it felt like a clear point of difference.
YOU’VE SPOKEN ABOUT THE IMPORTANCE OF IRISHNESS IN YOUR WORK – WHETHER THROUGH CULTURAL REFERENCES, MUSIC, OR HUMOUR. HOW DO YOU NAVIGATE THE LINE BETWEEN RESPECTFUL HOMAGE AND CLICHÉ WHEN WORKING WITH THOSE CULTURAL SYMBOLS?
It’s a very fine line, and it’s something I question at every stage of the process. Colour, fabric, graphics, casting, photography and music are all considered through that lens, often quite instinctively.
I want the brand to celebrate Irish culture without becoming pigeonholed. The aim is that people from different backgrounds can connect with the shapes and the feeling, and find their own sense of nostalgia, even if they’re not Irish.
WHAT DOES THE PROCESS BEHIND A ROBYN LYNCH PIECE LOOK LIKE? WHERE DOES IT BEGIN, AND HOW DOES IT EVOLVE?
It often begins with vintage. I spend hours on eBay and visit archives and vintage stores whenever I travel.
From there, it moves into product development with my factories. I usually start with colour direction, then yarn sourcing and fabric development. It’s very product led.
The story and world come later. The core themes don’t change dramatically from season to season. I’m more interested in building continuity and developing people’s wardrobes over time rather than constantly changing direction.
Personally, I’m quite pragmatic and observant. I’m interested in how people actually live, what they wear day to day, how clothes function in real environments, and the small details that make something feel right.
As a designer, I focus on utility, authenticity and storytelling. I’m interested in clothes that feel lived in, purposeful and connected to identity.
YOU GREW UP IN THE COASTAL TOWN OF MALAHIDE, STUDIED TEXTILES IN DUBLIN, AND THEN MOVED TO LONDON TO CONTINUE YOUR EDUCATION. HOW HAS YOUR HOMETOWN ENVIRONMENT SHAPED YOUR WORK?
I think the people I grew up with shaped my work more than the place itself. Malahide is beautiful, but it’s my friends and the memories that feed into each collection.
A lot of the work comes from nostalgia. Funny stories, the brands we used to wear, how we styled things together. Those memories often shape the direction of a collection and even the dream collaborations I want to pursue.
FROM MALAHIDE TO DUBLIN TO LONDON, IS THERE ANYTHING YOU MISS ABOUT THE IRISH DESIGN ECOSYSTEM?
I miss the ease of community and the willingness to help. When you grow up somewhere, you naturally have a network around you.
Starting out in London meant building all of those relationships from scratch, which is challenging. But it’s also a necessary part of growing independently.
CAN YOU REMEMBER THE MOMENT YOU FIRST DECIDED YOU WANTED TO WORK IN FASHION? WERE THERE ANY OTHER CAREER PATHS YOU CONSIDERED?
It felt quite instinctive. Each stage of education naturally led into the next, and the brand grew from that process.
When I graduated in 2019, I had the opportunity to continue developing the work and focus on championing an Irish voice within contemporary menswear. At the time, there wasn’t really anyone operating in that space, so it felt like a clear point of difference.
YOU’VE SPOKEN ABOUT THE IMPORTANCE OF IRISHNESS IN YOUR WORK – WHETHER THROUGH CULTURAL REFERENCES, MUSIC, OR HUMOUR. HOW DO YOU NAVIGATE THE LINE BETWEEN RESPECTFUL HOMAGE AND CLICHÉ WHEN WORKING WITH THOSE CULTURAL SYMBOLS?
It’s a very fine line, and it’s something I question at every stage of the process. Colour, fabric, graphics, casting, photography and music are all considered through that lens, often quite instinctively.
I want the brand to celebrate Irish culture without becoming pigeonholed. The aim is that people from different backgrounds can connect with the shapes and the feeling, and find their own sense of nostalgia, even if they’re not Irish.
WHAT DOES THE PROCESS BEHIND A ROBYN LYNCH PIECE LOOK LIKE? WHERE DOES IT BEGIN, AND HOW DOES IT EVOLVE?
It often begins with vintage. I spend hours on eBay and visit archives and vintage stores whenever I travel.
From there, it moves into product development with my factories. I usually start with colour direction, then yarn sourcing and fabric development. It’s very product led.
The story and world come later. The core themes don’t change dramatically from season to season. I’m more interested in building continuity and developing people’s wardrobes over time rather than constantly changing direction.
YOU RECENTLY REDESIGNED THE UNIFORMS FOR THE GUINNESS STOREHOUSE – A PROJECT THAT FELT LIKE A NATURAL FIT. HOW DO YOU BALANCE INSTITUTIONAL REQUIREMENTS WITH YOUR OWN DESIGN INSTINCTS?
It was a big challenge and something we’re still learning from. The key difference is the point of use. You’re designing for a wide range of people and roles, so it’s about finding a middle ground while still holding onto the brand codes.
I also wanted to bring as much of my existing production network into the project as possible. The uniforms are made in the same factories as my mainline, which I hope gives the wearer a sense of pride. I want people to feel like they’re wearing something considered and special.
SPEAKING OF, WHAT IS YOUR FAVOURITE LONDON PUB FOR A PINT OF GUINNESS?
The Auld Shillelagh in Stoke Newington.
COLLABORATION FEELS CENTRAL TO THE ROBYN LYNCH BRAND. IS THERE A DISCIPLINE OUTSIDE OF FASHION YOU’D MOST LIKE TO COLLABORATE WITH, AND WHAT MIGHT THAT LOOK LIKE?
Furniture is something I’ve become really interested in recently. Maybe that comes with getting older.
I’ve started approaching it the same way I approach clothing, through vintage sourcing and a lot of time spent on eBay. I’m drawn to pieces with strong materials and proportions. The idea of applying that same eye for material, function and longevity from clothing into furniture feels really exciting.
YOU’VE QUESTIONED THE VALUE OF RUNWAY SHOWS VERSUS MORE DIRECT FORMS OF ENGAGEMENT. HOW DO YOU ENVISION THE FUTURE OF FASHION PRESENTATION FOR INDEPENDENT DESIGNERS?
As an independent brand, you have to be realistic about resources. A runway show is a big investment for something that lasts a few minutes.
I think the future is about more considered and targeted ways of showing the work. Showrooms, press appointments, installations or campaigns, such as the support with UNCLE – that live in the real world – feel more effective. It allows the product to be seen properly and helps build stronger relationships with the people who actually support the brand.
HOW HAS BEING LONDON-BASED SHAPED YOUR PERSPECTIVE ON IRISH CULTURE? AND CONVERSELY, HOW DOES YOUR IRISHNESS INFLUENCE YOUR EXPERIENCE OF LONDON’S CREATIVE SCENE?
When I first moved, it definitely heightened my sense of Irish identity, as I think it does with a lot of people who move away from home.
Practically, the Irish community in London has become a huge source of support. Living away from home brings people together. There is a shared energy and willingness to help.
Finding those pockets of people within the London creative scene has been really important for the brand’s growth and survival.
WHAT DOES COMMUNITY MEAN TO YOU — BOTH AS A CREATOR AND AS THE LEADER OF YOUR OWN LABEL?
It’s become a buzzword, but for a small brand, it’s genuinely critical. Early on, the focus was on validation through big stores, wholesale growth and major press. But long-term sustainability actually comes from your direct community.
We realised our audience was growing online, but the product wasn’t always accessible to them. In 2024, we restructured our pricing and introduced a core collection. Since then, we’ve seen that support translate from social engagement into actual sales.
FINALLY, WHAT DO YOU HAVE PLANNED FOR FASHION WEEK AND FOR THE REST OF 2026?
The Geox collaboration was a major milestone. It’s the first footwear product we’ve been able to offer directly to our community, which has been a great experience.
We presented it in Paris showrooms during Men’s Fashion Week alongside press appointments. With this partnership with UNCLE we have also been able to launch our first out-of-home campaign, which has been a great way to test a more everyday form of visibility and meet people in their daily environment.
It was a big challenge and something we’re still learning from. The key difference is the point of use. You’re designing for a wide range of people and roles, so it’s about finding a middle ground while still holding onto the brand codes.
I also wanted to bring as much of my existing production network into the project as possible. The uniforms are made in the same factories as my mainline, which I hope gives the wearer a sense of pride. I want people to feel like they’re wearing something considered and special.
SPEAKING OF, WHAT IS YOUR FAVOURITE LONDON PUB FOR A PINT OF GUINNESS?
The Auld Shillelagh in Stoke Newington.
COLLABORATION FEELS CENTRAL TO THE ROBYN LYNCH BRAND. IS THERE A DISCIPLINE OUTSIDE OF FASHION YOU’D MOST LIKE TO COLLABORATE WITH, AND WHAT MIGHT THAT LOOK LIKE?
Furniture is something I’ve become really interested in recently. Maybe that comes with getting older.
I’ve started approaching it the same way I approach clothing, through vintage sourcing and a lot of time spent on eBay. I’m drawn to pieces with strong materials and proportions. The idea of applying that same eye for material, function and longevity from clothing into furniture feels really exciting.
YOU’VE QUESTIONED THE VALUE OF RUNWAY SHOWS VERSUS MORE DIRECT FORMS OF ENGAGEMENT. HOW DO YOU ENVISION THE FUTURE OF FASHION PRESENTATION FOR INDEPENDENT DESIGNERS?
As an independent brand, you have to be realistic about resources. A runway show is a big investment for something that lasts a few minutes.
I think the future is about more considered and targeted ways of showing the work. Showrooms, press appointments, installations or campaigns, such as the support with UNCLE – that live in the real world – feel more effective. It allows the product to be seen properly and helps build stronger relationships with the people who actually support the brand.
HOW HAS BEING LONDON-BASED SHAPED YOUR PERSPECTIVE ON IRISH CULTURE? AND CONVERSELY, HOW DOES YOUR IRISHNESS INFLUENCE YOUR EXPERIENCE OF LONDON’S CREATIVE SCENE?
When I first moved, it definitely heightened my sense of Irish identity, as I think it does with a lot of people who move away from home.
Practically, the Irish community in London has become a huge source of support. Living away from home brings people together. There is a shared energy and willingness to help.
Finding those pockets of people within the London creative scene has been really important for the brand’s growth and survival.
WHAT DOES COMMUNITY MEAN TO YOU — BOTH AS A CREATOR AND AS THE LEADER OF YOUR OWN LABEL?
It’s become a buzzword, but for a small brand, it’s genuinely critical. Early on, the focus was on validation through big stores, wholesale growth and major press. But long-term sustainability actually comes from your direct community.
We realised our audience was growing online, but the product wasn’t always accessible to them. In 2024, we restructured our pricing and introduced a core collection. Since then, we’ve seen that support translate from social engagement into actual sales.
FINALLY, WHAT DO YOU HAVE PLANNED FOR FASHION WEEK AND FOR THE REST OF 2026?
The Geox collaboration was a major milestone. It’s the first footwear product we’ve been able to offer directly to our community, which has been a great experience.
We presented it in Paris showrooms during Men’s Fashion Week alongside press appointments. With this partnership with UNCLE we have also been able to launch our first out-of-home campaign, which has been a great way to test a more everyday form of visibility and meet people in their daily environment.
