THE NEW LUXURY
Ireland’s craft heritage is back in the spotlight as crochet, embroidery, handknits and artisan workmanship take centre stage on the SS21 international catwalks, reports
Traditional craft techniques are back in the catwalk spotlight for spring/summer
Historically, craftsmanship was an intrinsic and defining element of fashion, particularly luxury fashion; but in the past 20 years, the fashion industry has been driven primarily by profit, not skill or tradition. Luxury brands have been subsumed into major conglomerates; standards of workmanship and raw materials have been compromised by profit margins; and stock market expectations, not quality, have driven many companies. Now, in contrast, there is a burgeoning movement that sees craftsmanship and craft re-asserting their role in fashion.
Craft had experienced a revival in the past decade, with the Design & Crafts Council Ireland highlighting that the craft and design sector is currently valued at €38 billion to the Irish economy, with the output of craft enterprises calculated at €498 million and craft exports at €125 million annually. Craft is moving from being a niche interest to an in uential force in contemporary design and fashion.
is revival of interest in craft isn’t unique to Ireland – international brands are featuring craft skills: Bottega Veneta, Alexander McQueen, Loewe and Dries Van Noten are integrating crochet, embroidery, handknits and artisan workmanship.
Fendi recently launched a new initiative, Hand in Hand, with special editions of their Baguette bag made by craft artisans from all over Italy. e aim: not only to highlight the talent pool of Italy’s craftspeople, but also to celebrate the romance of handmade objects in a mass production culture. Luxury brands reclaiming their patronage of craft with projects like this re ects the desire of consumers to invest in items with a distinctive style, longevity and heritage.
Craft is synonymous with Ireland – it is an intrinsic part of our visual and cultural heritage. As Michael D Higgins, President of Ireland, has stated: “In Ireland, our heritage and culture is deeply embedded in crafted objects, symbolically rich and exquisitely rendered.” Ireland has traditionally been a country of artisans; now there is a new generation of textile weavers, knitters, tailors, lace-makers, milliners and leather-workers taking out their tools every day, to make beautiful objects that place integrity, sustainability and passion at the heart of their creation. Brands such as e Tweed Project, e Landskein, Colin Burke, Stable of Ireland and 31 Chapel Lane are rede ning craft for a contemporary audience.
Anna Guerin of e Landskein, who uses Irish linens and tweeds in her luxury tailored coats, explains:
“My hope was to create a contemporary tailoring brand that would tell the story of heritage textiles in a modern narrative, and more importantly, to create a brand with a central pillar of kindness. My sales doubled this season, which is incredible during a pandemic, but I honestly believe that people now want to connect emotionally with their purchases, and in many ways, e Landskein can deliver on a promise of quality, authenticity and sustainability.”
Similarly, 31 Chapel Lane, founded in 2012 by Damien and Joi Hannigan as an independent familyrun luxury clothing label, makes exceptional things for men and women who appreciate craftsmanship, quality natural materials, and prefer to own things for life.
ey state: “Our approach is professional, ethical and considerate, through being socially and environmentally responsible. Our items are strong and valuable; made to be enjoyed, lived in, and held onto for a lifetime.
Each design is rigorously developed and examined; each piece is handcrafted, tailored from the nest Irish linen or pure wool, or Donegal tweed, and manufactured in-house with an uncompromising focus on excellence, sustainability and longevity.”
Larger retailers are taking note of these developments, with initiatives such as CREATE at Brown Thomas (under the direction of Shelly Corkery) supporting Irish designers and makers.
The fashion director explains: “Now more than ever, it’s vital we continue to support the future of Irish fashion, and craftsmanship will play a huge role in this. We see looms, lace and crochet making a big comeback. The craftsmanship seen in the collections of Faye Dinsmore is a great example of this – using honeycomb and blackberry stitching to develop a more contemporary edge to the traditional Aran knit. People are now more focused on wanting better not more, and that allows true craftsmanship to shine!”
The appetite for craft techniques including embroidery, hand knitting and authentic handwork is accelerating. With our lives increasingly automated, the slowness of craft is not only an antidote to digital saturation, it is therapeutic. e dexterity of human hands still fascinates us, and after a year of social distancing and working online, there is a huge appetite for tactile experiences.
Historically, Irish designers have been inspired by traditional crafts and fabrics; Sybil Connolly, Neillí Mulcahy, Irene Gilbert, Peter O’Brien and John Rocha all used Irish crochet, lace, pleated linen and tweeds in their garments. Sybil Connolly’s dramatic red tweed Kinsale cloak and white Irish crochet dress covered
Life Magazine in 1953, with the con dent strapline “Irish Invade Fashion World.” Textiles were a central part of the Irish economy: woollen garments, linen shirts, silk ball gowns, hosiery and millinery were all made here and exported worldwide.
Avoca Handweavers made distinctive fabrics for Elsa Schiaparelli and the British royal family, Ib Jorgensen sold his clothes crafted from Irish fabrics in Harrods, while Princess Grace had Irish tweed made into a Balenciaga suit. Irish textile mills such as Magee 1866, McNutt, Donegal Design and John Hanly of Nenagh sold their fabrics to international brands including Etro, Hugo Boss, Armani, Ralph Lauren, Anne Klein, Kenzo, Missoni and Max Mara. Sadly, most of these clients disappeared with the advent of globalisation and the migration of manufacturing to low-wage economies.
As Irish society emerged as an urban, tech focused economy in the latter 20th century, it failed to cherish its craft and textile heritage. While international brands such as Ralph Lauren, Kenzo and Jean Paul Gaultier featured Aran knits (usually made in Paci c Rim countries), Irish consumers’ interest in traditional textiles and skills waned. Celtic Tiger shoppers were fascinated with glossy international brands, not Irish style. Today, however, Irish crafts and fabrics are again appealing to consumers who want to wear clothes with local provenance and an Irish identity.
The Tweed Project in Galway by Aoibheann McNamara and Triona Lillis o ers just such traditional items reimagined for a modern world. ey declare that they “create handmade, one-o pieces that combine beautiful Irish fabrics with modern tailoring, a truly authentic expression of Irish design. e collection is made entirely of Irish fabrics, in Ireland for the world.” eir Aran knits are made by a traditional knitter on Inis Oírr and they commission fabrics from Emblem Weavers, Molloy & Sons, and Magee 1866.
Similarly, Stable of Ireland design and produce clothing and homeware with a network of Irish craftspeople. Sonia Reynolds of the brand says,
“We take great pride in what we do and continue to develop new ideas through traditional crafts that have survived the passage of time. It’s important that we continue to cultivate these industries and create the unique signature of what Ireland has to o er.”
According to trend forecaster Li Edelkoort, the world will change post-pandemic because people will suddenly realise what is truly valuable in life: from a feeling of greater common humanity to a burgeoning appreciation for slower, artisanal craft. Concerns around sustainability and global warming combined with a reassessment of consumer culture will foster a move to buying less frequently and buying increasingly from brands that champion creativity, quality and craftsmanship. Ireland via Irish craft is excellently placed to capture these consumers. Sonia Reynolds of Stable of Ireland believes so too: “Irish craftsmanship sits beautifully on the international stage.”
Eddie Shanahan, an Irish retail consultant, echoes these sentiments: “Authenticity and quality are becoming important criteria for today’s evolving curatorial consumer. Craftsmanship is a key ingredient for those consumers – something made by hand, with passion. It also adds value.”
Passion is a key word in the context of craft: the makers fervently love what they do, and consumers are inspired by this emotion. Clothes with a craft element are unique, replete with humanity and infused with their own story, emphasising authenticity, beauty and tradition as an antidote to the arid vista of materialism. Let’s cherish our craft culture and be wise enough to realise that true luxury involves items made for a lifetime and not land ll. is craft revival o ers a new way to consume, and a new way to create a better fashion culture.