Ireland’s coterie of talented fashion designers, retailers and enterprises are a notoriously resilient group. Despite the challenges posed by fast fashion, global high-street stores and huge competition from online shopping, they have maintained a remarkable reputation for innovation and ingenuity.
This is in no small part due to the networking frameworks and supportive platforms that have been established to reinforce their presence in the marketplace, offer advice and facilitate the flow of information.
The rag trade can leave designers and shop owners run – well, ragged, and feeling isolated behind sewing machines, cash desks or drawing boards. However, the invisible threads that assist these innovative businesses to thrive sustainably are reinforced by organisations such as the Institute of Designers Ireland (IDI), the Council of Irish Fashion Designers (CIFD) and less formal groupings such as The Set. These bodies provide supportive workshops, mentoring and marketing information in a rapidly changing environment that requires continual upskilling and technical know-how.
The personalities involved can coax people away from their workshops, home offices and stores and bring them together in highly inspirational and motivational ways to network and thrive. This allows the people behind the brands and labels to find practical ways to raise their profiles through socialising, sharing ideas and mutual support.
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Professional bodies such as the Institute of Designers in Ireland play a particularly important role in amplifying a company’s market presence. For a designer moving from studio work into a commercial environment, these supports can be the difference between a concept that remains local and one that becomes viable in national and international markets.
The CIFD is spearheaded by a board that pools its collective experience pro-bono to raise the visibility of its members. Eddie Shanahan – a stalwart of the Irish fashion industry and a mentor to many – is one of the board members, and he explains its role in the market.
“Basically, the CIFD was founded 16 years ago as a loose, informal networking body to counteract the loneliness and isolation of designers who predominantly work independently and without professional support. The objective was to help members to achieve business goals and keep informed of innovative practices, government incentives and sustainability expectations.”
So how does it support members?
“The council holds meetings every five to six weeks where we have interesting workshops that deal with a range of issues, from how to sell more effectively online to coping with the expansion of AI, as well as teaching them the power of ecommerce. This is all done in an atmosphere of sharing, sociability and encouragement.”
By pooling their collective muscle, eclectic brands become a source of interest for domestic and international buyers who want to invest in Irish design and the country’s indigenous crafts and skills.
“Every autumn we make a short film and fashion show displaying the artistry and beauty of brands like August Night, Kindred of Ireland, Heidi Higgins and Noema. Each of our CIFD members – and there are 65 in total – are showcased with a small feature about their collections or products, and, of course, this is seen right across the globe.”
The European Fashion Alliance evolved from this concept; it now has 28 councils from various countries. These help designers meet the challenges they face, and work to create a more circular and eco-friendly economic model.
“We also organise events like Conversations with Designers, and sociable soirées held in hotels or local centres,” Shanahan says. “They bring a community of entrepreneurs together and offer momentum and inspiration along their working journey.”
The Set is a new platform started by Dawn Hill and Aoife Horgan, and was formed as a community for people who are building something and want to do it alongside others who understand their concept. The two women spent years figuring out entrepreneurship and building brands while juggling family life.
Horgan is the founder of coaching business Glimmer and co-founder of Versify PR; Hill is the founder of Floraison, a high-end skincare business.
“Some of the most valuable things we’ve gained along the way didn’t come from formal courses or structured networking,” says Hill. “They came from people who generously shared something useful at the right moment, made an introduction, or even just told us we were on the right track at the right time.
“What Aoife and I have built between us is a support system with events; that didn’t happen overnight. But it made me realise how much it matters, and how many people are trying to do this without help.”
Horgan says the pair are “not standing up there as people who have all the answers”.
“We’re just two people who’ve been in the thick of it and want to create the kind of room we always wished we could walk into,” she says.
“The best connections tend to happen when people feel relaxed enough to be honest, comfortable enough to ask the questions they’d normally keep to themselves, or admit the things they’re finding hard.”
Their desire is “to build something people come back to – workshops, retreats, resources, community that supports people across the whole arc of building a business and a life”, says Horgan.
“More than anything, we want to be the kind of people who open doors. We genuinely believe there’s room for everyone, and that the more we champion each other, the better it is for all of us.”
As the national agency for craft and design, the Design & Crafts Council Ireland (DCCI) plays an important role in supporting and promoting Irish designers and their businesses through a range of opportunities and initiatives.
It provides commercial opportunities for the craft and design industry, through events such as Showcase, Ireland’s largest creative trade show, which connects Irish makers and designers with national and international buyers. The DCCI Irish Craft Village at Bord Bia Bloom showcased many entrepreneurs selling their products over the five-day festival to an audience of more than 100,000 visitors this year.
And then there is Gifted, Ireland’s contemporary craft and design fair in the RDS at Christmas for more than 60 Irish design and craft businesses. Both the DCCI Irish Craft Village at Bloom and Gifted provide space for makers specifically involved in DCCI’s evergreen Made Local campaign, reinforcing its commitment to championing Irish design, craftsmanship, sustainability and local enterprise.
Fashion Connect Ireland’s mission is also to collaborate with Ireland’s fashion and textile designers to make Irish design a symbol of contemporary and cutting-edge style. As an organisation, it wants to ensure everyone can own a piece of clothing with “Made in Ireland” proudly stamped on the label and for future generations to be able to immerse themselves in the skills and heritage of a thriving scene where Irish fashion can flourish.
Anneliese Duffy Fallon, owner of The Linen Shirt Company and founder of Fashion Connect Ireland, is a third-generation Irish designer with a deep love for Irish fashion.
“My mission is to ensure that Irish fashion continues to thrive so that future generations can enjoy high-quality, locally made clothing,” she says.
Duffy Fallon’s early experiences of the family business instilled in her a deep appreciation for the skill and dedication of sewing technicians. She recognised them as the cornerstone of any successful brand. However, even at a young age, she couldn’t understand why they weren’t formally recognised for the expertise they honed over the years. She resolved to rectify this oversight if ever given the opportunity.
With established organisations such as the Institute of Designers in Ireland and the Council of Irish Fashion Designers, as well as newer peer-led communities such as The Set offering different but complementary forms of support, Irish designers have access to a range of advice, from old hands and more recent arrivals on the scene.
And it’s not only about the success stories. Sharing tales of uncertainty, low morale and self-doubt, along with honest conversations about harsh business realities such as pricing mistakes, production failures and how to keep hold of creative integrity while meeting market demand, are just as important to nurturing the next generation of Irish designers.
