the
FUTURE
finale, supermodel Kristen McMenamy sashayed through the Irish embassy in Paris
in 15 metres of Carrickmacross lace. It reportedly took a team of 26 Monaghan-based
artisans over nine months to create the gown, with ten hours of work required to
produce just 20 centimetres. Speaking after the show, Stewart told reporters, I wanted
to present what Irish craft can be, and bring it to a stage it deserves to be on.
Stewart isnt the only designer bringing Irish craft to the world stage. Since taking the
helm at Dior, Anderson has refashioned the brands signature bar jackets in Donegal
tweed, a nod to Christian Diors use of the heritage textile in early collections. The
fashion house, of course, has a long history of centring craft as celebrated in this
summers exhibition Dior: Crafting Fashion at SCAD FASH, a world-leading fashion
museum in Atlanta, Georgia. Andersons vision for the brand is to restore this historic
focus: he has reportedly doubled the size of Diors atelier, enabling it to produce ever
more intricate and labour-intensive designs. An ongoing (and incredibly popular)
exhibition of the brands history at its Galerie Dior space in Paris,
meanwhile, features live demonstrations by tailors, dressmakers,
embroiderers and leathersmiths in its Ateliers du Rêve room.
In December, Anderson will double down on his Irish roots by
showing Diors autumn winter 2027 pre-fall collection at Trinity
College Dublin. While the collection is yet to be revealed, it
seems likely that more Irish heritage crafts will feature, given
their centrality to Andersons brand DNA.
Meanwhile in Brussels, Irelands Presidency of the Council
of the European Union is being celebrated with an exhibition
of contemporary Irish art and craft at the EU Headquarters,
Europa House, until December 12. Under the title Cuimhne
agus Séadchomhartha (Memory and Monument), fashion designer-turned-artist
Richard Malone presents his draped fabric sculptures alongside a curated selection
of hand-tufted rugs by Ceadogan Rugmakers, woven fabrics by Mourne Textiles and
porcelain vessels by Sara Flynn. In selecting these craft items to display alongside his
artworks, and those of renowned contemporary artists including Niamh OMalley and
Aleana Egan, Malone is deliberately breaking down the barrier between fine art and
craft. Why arent certain stitch samplers or certain quilts collected [by museums]?
Why are certain artists not on our curriculum?, he pleaded to The Guardian earlier
this year, highlighting the historic undervaluing of craft traditions, particularly those
historically performed by women.
In December 2025, it became possible for heritage crafts like Carrickmacross lace and
Donegal tweed to gain geographic protection under the EUs new Craft and Industrial
Geographic Indication scheme (giving them the same legal connection to place as, say,
Champagne or Parmigiano Reggiano). Its an important first step in recognising the
cultural and economic value of these products. But industry advocates point out that we
have a long way to go: Irelands Arts Act continues to exclude craft, fashion and textiles
from its definition of culture. In effect, this means these artisans and designers usually
cannot apply for state funding or avail of government-backed schemes like Basic Income
FASHION
for the Arts, something the Council of Irish Fashion Designers has long protested.
With high overheads, slow outputs and little state support, crafts can be costly to
produce. This leads us to an important and somewhat paradoxical point. Just as our
appetite for craft is soaring, the skills needed to produce it are becoming scarce. Fewer
young people train in traditional techniques, while economic pressures cause struggling
craftspeople to retrain or move abroad. Meanwhile, as highly skilled elder artisans retire
or die, certain heritage crafts are at risk of being lost entirely (linen damask weaving,
for instance, is classed as critically endangered). Just as Irish craft is getting its moment
on the world stage, its glass slipper could be falling off what if we dont foster the next
generation of craftspeople to sustain this new interest?
Thankfully, a host of young designers and makers are determined to buck the trend
and keep traditional textile crafts alive. Not long before the star turn of Donegal tweed
on the runway at Dior, the regions traditional loom weaving technique was close
to extinction. A traineeship under one of the last remaining
master weavers, John Heena, was launched in 2022 (supported
by Donegal tweed producers including Magee Weaving), in a
bid to save it from oblivion. The scheme has already spawned
fresh talent, including weavers Léila Worth, who uses colourful
Donegal yarns to craft tweed coats and blankets, and Ailbhe
Beatty. Trained as an architect, Beatty has painstakingly
restored an antique wooden floor loom since completing
her traineeship (a journey documented on her Instagram, @
girlmeetsloom) and now uses it to craft sumptuous wool
throws, scarves and ties for her brand Seol Studios, launched
in 2024. She also works with Paul Henry Tailoring, supplying
handwoven cloth for bespoke jackets.
Traditional handicrafts, meanwhile, are being revived by contemporary Irish
fashion designers such as Róisín Pierce, winner of a bevy of prizes including Chanels
Métiers dArt, the Hyères and, more recently, the Golden Fleece Merit Award. Pierces
designs deploy an array of techniques to honour not only Irelands rich history of
craftsmanship, but also its darker histories, such as the indentured labour performed
by women in Magdalene laundries. Pierce learned the techniques of crochet, lace
and smocking from her mother, Angela, who still helps her create each collection
by hand. While continuing to produce her made-to-order pieces in-house, she now
supplements her familial skill set through partnerships with master craftspeople in
knitting, crochet, embroidery, and pleating, using traditional techniques to create
forward-thinking, sculptural silhouettes that have won the approval of Rei Kawakubo
of Comme des Garçons (who has stocked items in Dover Street Market) and Alexa
Chung, who wore the brand to the 2023 Met Gala.
So with a younger generation beginning to embrace the slower pace and challenging
skills required to create hand-crafted fashion, and a global audience waking up to the
quality and value of Irish heritage crafts, it seems Cinderella might finally get her night
at the ball. Her glass slippers? Cut by artisans in Waterford, of course.
Just as our appetite
for craft is soaring,
the skills needed
to produce it are
becoming scarce.
September 2026 51
THE IRISH TIMES SEPTEMBER 2026 Autumns new mood Crafting the future + Susie Cave Maria Grachvogel Adrian Dunbar ww th w. eg los s.i e n o i h s E a f SU e h t
THE NEW FRAGRANCE
CONTENTS the gloss E D I TO R JE NNIFE R STE V E NS D EP UT Y ED ITOR S Í O MHA CO NNO LLY STYLE E D I TO R AISLINN CO FFE Y B EAUT Y ED ITOR SARAH HALLIW E LL CO N T R I B U TI N G E D I TO R PE NNY MC CO RMICK A R T D IR EC TOR PATRICIA C MAR INHO D IGITA L ED ITOR RACHE L HE ALY A DV ER T
THE FIRST WORD The Edit restaurants, books, trends, culture This Month Ruth Negga in Radio Bette Lake Burst by Maia Nunes Perry Ogden Through the Lens S SÉZANE Mark Moriarty Studio For aspiring photographers inspired by the incredible eptember is a time for renewal. In the pages of THE GLO
TREND 1 Spot The Trend T 3 2 Dramatic glamour is back By Aislinn Coffey 6 4 5 he AW26 shows marked the return of glamour, with designers embracing bold dressing over the restrained minimalism of recent seasons. At Gucci in Milan, jet-black lace and dramatic faux fur coats set the tone under t
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