Stíl Issue 6

STÍL MAY 2026

SPOTLIGHTING IRISH ARTISTS such as FÍOR JEWELLERY STONED TO DEATH & SASHA DONNELLAN

AGE OF REINVENTION: CELTIC REVIVAL REBIRTH OF IRISH CULTURE

Ireland’s RENAISSANCE

ISSUE NUMBER

06

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Ireland Fashion Week Sea Show Photographer: Anastasiia Redko

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ISSUE SIX

CONTENTS

REGULARS

GO DEO NA NDEOR

06 LETTERS FROM THE TEAM

On page 15

11 NOTICES Behind the scenes of the issue

14 DIRECTOR’S EYE This year’s moodboard.

By Fiona Corcoran

LIFESTYLE

32 WHEN DOES INFLUENCE BECOME ERASURE?

The influence the people we surround ourselves with have on our style

44 DRESS FOR SUCCESS Reinventing professional style for students

COVER LOOK Photographer: Adair Arnold Makeup: Tristan Kozlowska Model: Amy Warrington Clothing: Golazzo Football Shoot Director: Fiona Corcoran

ARTS & CULTURE

15 GO DEO NA NDEOR A collection inspired by Irish Folklore Designed by Caitríona McGovern

20 DUBLIN INDEPENDENT FASHION WEEK

Photo recap by Kate Gaidash

23 THE CLADDAGH RING Thoughts on the cultural revival

37 IS 2026 THE NEW 2016?

Why 2016 is making a comeback, and do we want it to...?

39 RETURN TO RETRO Vintage photoshoot with Golazzo

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CONTENTS SPOTLIGHT

26 HERITAGE, REIMAGINED How Sasha Donnellan is redefining Irish design

34 IDENTITY AND REINVENTION How Stoned to Death has been shaped

by Irish diaspora and queer identity

46 AN BAILE A IOMPAR LEAT Scéal Fíor Jewellery

FASHION & FEATURES

18 REBIRTH OF QUIET LUXURY How style reflects economic trends

30 FASHION AS REBELLION Case studies throughout fashion history!

50 IRELAND FASHION WEEK

Ireland Fashion Week above.

Photographer credits: Guilherme Resende

Why it’s one to watch!

Ireland Fashion Week below. Photographer credits: Ana Elizabeth Aguila

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LETTER FROM THE CREATIVE DIRECTOR

Fiona Corcoran 6

LETTERS

LETTER FROM THE EDITOR-IN-CHIEF

Emily Kenyon

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LETTERS

LETTER FROM THE VICE-EDITOR

Aisling Ní Mhathúna 8

When the going gets tough, the tough reinvent.

RU PAUL

Photographer: Kate Gaidash

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Ireland Fashion Week Bold Golf Show Photographer: Guilherme Resende

NOTICES

credits Editorial team creative director - Fiona Corcoran editor-in-chief - Emily Kenyon vice-editor - Aisling Ní Mhathúna features editor - Amy Warrington assistant editor- Caoimhe Leonard assistant editor- Anna Harrison assistant editor- Ruth Leyden

writers

models

Fiona Corcoran

Emily Kenyon

Emily Kenyon

Alyssa Barrett

Aisling Ní Mhathúna

Anna Harrison

Amy Warrington

Amy Warrington

Carl Dwyer Murray

Victoria Ibukun

Lily Twomey

Anna Linetska

Neasa Ní Aodha

Paul McFadden

Doireann Ní Bhroin

Murilo Costa @lincheexii

Photographers Adair Arnold @adairstudios Kate Gaidash @kateis_ph

@kkatemcnamara Ireland Fashion Week Models

Guilherme Resende @guirtds

Designer featureS

Olena Po @amelpomenem

Fíor Jewellery

Ana Elizabeth Aguila @anaelizabethaguilaa

Stoned to Death

@elizzabeth.hunt

Sasha Donnellan

Anastasiia Redko @_listova

Caitríona McGovern Hollie Marie Gallagher

clothing

Sinéad O’Brien

Golazzo Football

Ireland Fashion Week Designers

makeup

printing

Tristan Kozlowska @tris.portfolio

issue 6

MBE Design and Print Cork

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STÍL Ireland Fashion Week Sea Show Photographer: Anastasiia Redko

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NOTICES

behind-the-scenes of stílissuesix

Go behind the scenes of Stíl with the team

Photographer: Adair Arnold Makeup: Tristan Kozlowska Clothing: Golazzo Football Models: Emily Kenyon Amy Warrington Anna Harrison Alyssa Barret

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DIRECTOR’S EYE

y a d y r e My evkit

nes Headpho

Purse Chunky jewellery

Laptop

Jacket Leather

this year’s

s i d e r f o A pop less time

moodboard by fiona corcoran

Fashion in 2026 is leaning into layers, blending work-wear with softer silhouettes in a way that feels considered without looking over-styled. We are seeing a move away from strict minimalism toward buying staple pieces that look put-together with minimal effort. Capsule wardrobes are still central, but they’re getting a personality boost through patterned or textured pieces that break up the neutrals.

Gingham and polka dots are especially present, adding a fun twist to go-to outfits. Deep reds remain the standout accent of the year, appearing through a bold lip, patent shoes or statement purse. The overall mood is practical yet expressive, shifting back to classic and quietly confident style that speaks for itself.

Mornings essential Matcha

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Perfume

Lip combo

All photos from Pinterest

ARTS & CULTURE

‘Go Deo na nDeor’

by Caitríona McGovern

Designer: @caitrionaamcgovern Photographer: @elizzabeth.hunt Assistant: @emmacolemann Models: @kkatemcnamara @lincheexii

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Designer: @caitrionaamcgovern Photographer: @elizzabeth.hunt Assistant: @emmacolemann Model: @kkatemcnamara

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Designer: @caitrionaamcgovern Photographer: @elizzabeth.hunt

Assistant: @emmacolemann Models: @kkatemcnamara @lincheexii

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The Rebirth of

QUIET LUXURY

Fashion trends have forever moved congruent with economic conditions. It has long been explained through theories such as the Lipstick Index and, most famously, the Hemline Index, which suggests that skirt lengths rise in times of growth and fall during recession. However, while these theories are interesting, they’re not accurate, with research suggesting the Hemline Index lags behind real economic change by several years, making it better understood as a reflection of social mood than a genuine predictor of recession. Given these facts, are there trends reflective of the state of the economy? While fashion trends may fail to prudently predict recession, they can illustrate how a person’s style may change in response to the economy.

The Price of Looking Effortless Quiet luxury is the polished uniform of economic unease.

It has emerged in a period of economic growth on paper, accompanied by eye-watering inflation, particularly in the fashion industry. Given these circumstances, quiet luxury feels especially tied to this broader sense of economic uncertainty by embodying a look which is subtle, logo-free, and crucially, easy to imitate.

Brands like Loro Piana or The Row have become poster children for this aesthetic, renowned for immaculately crafted basics at prices which are, at times, offensive. A €9000 vicuña wool sweater from Loro Piana, or €5000 Trench coats from The Row, signal wealth precisely due to their unattainability, and because they do not scream for attention. Quiet Luxury rejects the obvious branding of Louis Vuitton’s monogram, for example, in favour of understatement, even though the result is frequently just as expensive. And of course, fast fashion brands like Zara, H&M, or Shein immediately copy these looks, allowing the average consumer to cosplay stealth wealth for significantly more reasonable prices.

This is what makes this trend so revealing. It reflects a desire to appear affluent, tasteful. and unaffected by economic stress, even when it is that very stress which is driving the trend in the first place.

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All photos from Pinterest

At the same time, the rise of quiet luxury cannot be separated from the current state of the luxury market itself. While the fashion industry has experienced consistent growth for years, McKinsey and The Business of Fashion note that 80% of luxury growth between 2019 and 2023 was derived from price increases, not from rising demand. One example being a Chanel Classic Flap rising from the already egregious price of €4000 in 2016, to over €12000 in 2025, despite no change in the product.

However, since then the industry has begun to experience the first slowdown since 2016, as aspirational shoppers have seemingly hit their limit, as have the price ceilings.

In this context, quiet luxury represents both aspiration and anxiety as consumers still want to signal taste and wealth, but in a way which feels restrained, purposeful, and rational. That is where the high street steps in, offering high fashion styles for a fraction of the price, and often quality too.

FASHION & FEATURES Office Siren or Economic Warning The recent revival of corporate casual suggests that even nightlife fashion is being shaped by practicality and economic unease, echoing the post-2008 crash era when people were less inclined, or simply less able to buy entirely separate wardrobes for work and for leisure.

Instead, they invested in clothes offering versatility; corporate by day, the club by night.

The same logic may be behind the rise of trends like the ‘office siren’ and, more broadly speaking, corporateinspired dressing. Corporate casual reflects an economy in which employability, versatility, and financial caution increasingly shape personal style. In 2008 this was evidenced by the rise of recession pop; Kesha blaring on the radio, blazers in the club, and mass unemployment accompanied by one of the biggest economic shocks in decades. However, the past few years have begun to resemble that of 2008: Brat Summer, the return of office wear in informal settings, mass layoffs and Eurozone economic stagnation.

In this context, corporate casual feels less like a purely aesthetic choice, and more akin to a response to labour market anxiety. People are dressing not only for selfexpression, but also perhaps to appear as competent, ambitious, and hirable. It is arguably a style shaped by economic pressure, and potentially desperation to land a grad role that hopefully will not be made redundant in the next two years.

The Aesthetic of Economic Unease

Quiet luxury and corporate casual are not reliable economic indicators in themselves, yet they can reveal symptoms of the societal mood that economic instability creates. Alongside many other trends, they show how consumers respond to pressure not only with caution, but with performance; dressing sharper, and more composed than they may feel. Rather than treating every trend as proof of decline, it is more useful to see fashion for what it is, not as a forecast, but as a mirror of economic conditions.

BY CARL DWYER MURRAY 19

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Dublin Independent Fashion Week 20

Dublin Independent Fashion Week Photographer: Kate Gaidash Model: Murilo Costa Designer: Sinéad O’Brien

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Dublin Independent Fashion Week Photographer: Kate Gaidash Designer: Hollie Marie Gallagher

ARTS & CULTURE

The Claddagh Ring

THOUGHTS ON THE CULTURAL REVIVAL

T

he first time I came across the Claddagh Ring, was on my eighth birthday. I opened the green box and inside was a silver necklace with the ring hanging as a pendant. From that day on, I wore it every day, without a clue about its meaning or history. Just like me, my great-aunt also wore the symbol every day with her gold earrings. I’ve always noticed it throughout my life, now more than ever in the revival happening in Ireland’s culture today – in our language, our clothing and our jewellery.

As it is a symbol of cultural identity, do people realise or understand the history they wear every day? Do you need to know that history to wear it?

Can’t we simply wear it without a clue, like I did as a child?

Are young people hurting the historical image of the ring, or are they shining a light on the beauty of our culture?

Are these big businesses, as usual, taking advantage of young people’s interests and damaging the image of our culture?

If you live in Ireland, I’m sure you’ve noticed the spotlight on Irish culture. I’ve watched this cultural revival happen locally and across the country. I hear it at Pop-Up Gaeltachtaí, and I see it in the way people dress themselves. I’ve noticed people my age wearing the rings more than ever now. It appears outside of its typical form, a silver band on one’s wedding finger, as a new trend in today’s fashion. The symbol is now appearing everywhere; on t-shirts, on bangles and even as tattoos! The symbol is intertwined with today’s youth culture.

This trend has evoked a range of feelings among Ireland’s population.

Some people say that it’s amazing to see the symbol itself make its way into current trends. It could be seen as a sign of respect and interest in traditional Irish culture. People wear it however they can, as jerseys and even tooth gems!

Is the Claddagh Ring a symbol of Irish culture or just another fashion trend? What will happen if the trend dies and the ring won’t be ‘cool’ enough? Are these businesses and their clients blindly following a trend without a care for what it stands for?

Photographer: Anastasiia Redko

On the other hand, arguments are made that the widespread use of the ring is damaging.

Businesses diminish the culture by exploiting the symbol and profiting from it, coming up with various forms to sell it.

The ring’s design is instantly recognisable, and its symbolism even more so. The ring represents love through the heart, loyalty in the crown, and friendship with the hands.

The word ‘Claddagh’ translates to ‘the seashore’, originating from Claddagh in Galway.

The design is often attributed to Richard Joyce; however, its exact origins remain debated. There have been multiple theories that it could be linked to voyagers passing through the fishing village, bringing the design with them from Spain and other continental countries. It varies in design across the country, as seen in the ‘Munster ring’, and has reached places beyond the island, such as Brittany. The ring can also mean different things when worn in various ways. For example, if you wear it on your left hand with the heart facing away from you, you are telling everyone you’re engaged.

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With a rich history and a beautiful meaning, it’s no wonder that people want to wear a Claddagh Ring with pride. Are they wearing it with all this information in mind, or are they simply following a trend? Is it so bad to follow a trend?

From being typically found in a jeweller’s or a tourist's gift shop to being sold online and in big shops everywhere, Claddagh Rings have always been present in modern culture. The first time I noticed the ring making its way into today’s cultural revival was in the ‘Chunky Claddagh Hoops’ trend. Suddenly, everyone on the street was wearing them, and every time I asked where they were from, I got a different answer. Most people referred to Etsy, which made me think that individual creatives were creating something new from a traditional design. Slowly but surely, the answers changed to AliExpress or Amazon. That was the first time I'd hear of big companies selling cheap ‘Irish’ products other than a t-shirt that says, “Kiss Me I’m Irish”. These companies are selling them at lower prices for lower quality. Are they cheapening Irish culture, on top of these ‘touristy’ products, or is there such a demand for a symbol of cultural identity that people are willingly buying them as a cheaper alternative?

Today, the names of Irish jewellery businesses are echoed across Ireland, thanks to this trend. Looking at recent trends, one that stands out the most is wearing Irish jewellery, any piece representative of Ireland.

Companies such as FADA and Fíor are repeatedly mentioned in these conversations, highlighting their success in contributing to young people’s interests and trends.

Photo from Pinterest

And just like any other trend, they start from niche areas and make their way into the hands of big companies. Big shops across Ireland are selling alternatives to the symbol, and, similar to big online companies, at lower prices and lower quality. Can this be considered respectful to the culture when the rings break because of such poor quality?

Trends shouldn’t be exclusive. You should be able to participate in any trend that you’d like. So, isn’t it amazing that the ring made its way outside of Galway, for everyone to appreciate and wear? Maybe these bigger companies are offering that chance for all to participate. But, like any other fashion trend, what happens when it dies? What happens when the ring is suddenly ‘cringy’? Will we see them piling up in charity shops and landfills? Will products of Irish culture be considered ‘uncool’?

While we might not have these answers now, and might not get them for years to come, I know that this ‘trend’ has had a positive impact on me and those around me. This trend has motivated me to investigate the ring’s history and meaning, as well as Irish culture itself. I’m infatuated with Ireland’s rich history and culture, and diving into this topic has made me appreciate it even more. Of course, there’s profit to be made when selling a product of public interest, but this also contributes to the widespread use of the symbol. People are reconnecting with culture more than ever before, thanks to this trend, as I have.

Ultimately, if this trend dies and a new one comes around focusing on a different part of Irish culture, you'll still see me wearing my silver necklace with my chunky gold hoops.

BY NEASA NÍ AODHA 24

STÍL Ireland Fashion Week Sasha Donnellan Show Photographer: Guilherme Resende :

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Ireland Fashion Week Sasha Donnellan Show Photographer: Ana Elizabeth Aguila Pictured: Sasha Donnellan

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SPOTLIGHT

Heritage, Reimagined: How Sasha Donnellan is Redefining Irish Design

Photographer: Ana Elizabeth Aguila

In recent years, a new generation of Irish designers has begun to reshape the global fashion landscape. Among them is Sasha Donnellan, a young designer whose work blends Irish heritage, storytelling, and craftsmanship with a contemporary perspective.

Drawing inspiration from Connemara landscapes, folklore, and history, Donnellan’s designs explore identity, resilience, and femininity through clothing that feels both deeply personal and culturally rooted.

Although her work now sits confidently within the world of luxury womenswear, Donnellan’s path into fashion was not always obvious. “I grew up between places, but was mostly in Westport, and that environment shaped me more than I realised at the time,” she explains.

“I was always drawn to the arts and to history, and I spent a lot of time observing the world around me.

Landscapes, old buildings, and local stories all fascinated me.”

Despite this creative pull, fashion initially seemed like an unlikely career path. Coming from a more businessoriented family, she first considered studying law or business in Dublin. Yet the artistic interests she gravitated towards in her spare time eventually became impossible to ignore. “I realised fashion could become the medium through which I tell stories about heritage, society, and identity,” she says. That realisation led her to ESMOD Paris, where she specialised in luxury womenswear and learned how to construct garments from concept to completion. “That is where my journey really began to take shape. I learned how to make a garment from start to finish, from an idea, to a pattern, to sewing the final piece.”

The decision to pursue fashion seriously came earlier, however.

During transition year in school, an experience prompted her to reflect on the unpredictability of life and the importance of pursuing something meaningful.

“It pushed me to think about what I truly wanted to do rather than what felt safe or expected,” she says. “If I was going to dedicate my life to something, it needed to be something meaningful and creative.”

Since then, building a career and launching her own label at a young age has brought both excitement and challenges. One of the biggest surprises for Donnellan has been just how collaborative fashion truly is.

“It’s such an incredible industry that introduces you to so many different people,” she says.

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SPOTLIGHT

“Behind every picture of a piece, there are producers, pattern makers, stylists, photographers, and creatives from many disciplines who all worked on it together. A collection only really comes to life through that shared effort.” At the same time, she acknowledges the industry’s intensity.

“Fashion can be incredibly fickle. Things change very quickly, trends move fast, and people come and go constantly.

Launching a label made me realise how much resilience the industry requires.” Still, the reward lies in watching an idea evolve from sketch to finished garment and seeing people connect with the result.

Photographer: Ana Elizabeth Aguila

“MY COLLECTIONS OFTEN FUNCITON ALMOST LIKE VISUAL ESSAYS” Much of this connection is rooted in the deep cultural influences that run through her work. Connemara’s landscapes and Ireland’s history play a defining role in how she approaches design. “The landscapes are raw and powerful, and they carry a sense of history that follows you no matter how far you travel from them,” she says. “Growing up around that environment made me very aware of how place and memory shape identity, and what it means to be a woman in those spaces.”

Research forms the starting point of many of her collections. Donnellan spends time in libraries, museums, and archives studying historical references, folklore, and overlooked narratives. These influences surface in subtle ways through silhouettes, materials, embroidery, and symbolic detailing.

Ireland’s storytelling tradition is also shapes her design philosophy.

“My collections often function almost like visual essays,” she 28 explain

almost like visual essays,” she explains. “They explore historical themes and reinterpret them in a contemporary way. I strive to tell untold or overlooked stories through my work.” Her most recent collection, Lupus et Agnus, debuted as part of her Spring/Summer 2026 show at Ireland Fashion Week.The title references the fable of the wolf and the lamb, a story that reflects ideas of innocence, accusation, and power imbalance.

“I used that metaphor to explore the ways the vulnerable have been treated throughout history,” she explains, with particular focus on women under religious institutions and the suppression of Irish culture.

The garments themselves reflect this tension: delicate fabrics and fragile details appear alongside corsetry, structured silhouettes, and intricate handwork.

“The collection is about reclaiming and questioning those narratives while also celebrating resilience, especially in times as turbulent as today.”

Among the pieces in the collection, one stands out as particularly meaningful to her: a dress inspired by the Irish High Cross. “I first drew the idea when I was sixteen during an art history class,” she recalls. “It stayed with me for years, and I always hoped that one day I would have the skills to properly realise it.”

SPOTLIGHT

STÍL The finished piece features a sculptural cross form framing the upper body, crafted from 100% silk and adorned with pearl beadwork and cording that traces the arms of the cross. Creating it required patience, precision, and the technical skills she had developed over time.

“Making that piece felt like a full circle moment,” she says.

“It was an idea that began when I was very young, and being able to finally create it made it very special to me.”

Presenting this work at Ireland Fashion Week was another milestone.

Photographer: Guilherme Resende

For Donnellan, showing in Ireland was especially meaningful because her designs draw so heavily on Irish culture and landscapes. “It was exciting to share the collection with an audience that understands my references on a deeper level,” she says. “Standing there and seeing the work presented made me realise that this is truly what I am meant to be doing.”

Beyond the runway, Donnellan hopes the garments themselves create meaningful connections with those who wear them. “I hope people feel a sense of strength and individuality when they wear my designs,” she says. “The garments carry layered meanings, but ultimately they are about empowerment and expression.”

Looking to the future, she plans to continue expanding her craft and growing the brand. One area she is particularly excited to explore is the bridal market, where the relationship between designer and client becomes especially personal.

“It’s a lot of trust and responsibility,” she says. “But it’s also one of the most beautiful avenues of fashion, both visually and conceptually.”

At the same time, she hopes to scale her ready-towear lines and meet the demand she has not always been able to supply while working independently.

Continued learning remains central to her vision.

“For me, growth as a designer comes from constantly challenging myself and finding new ways to express the concepts that inspire my work,” she says. “Each new skill or technique opens up a different way of telling a story.”

Through her work, Sasha Donnellan is not simply designing garments, she is building narratives, weaving together Ireland’s past and present through fashion that speaks to identity, resilience, and the power of storytelling.

By Amy Warrington

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FASHION & FEATURES

fashion as rebellion Throughout history, clothing has been far more than decoration. It has been a tool for armour, protest, identity and crucially, the spark for women’s emancipation. Long before hashtags, algorithms, micro-trends and viral campaigns, women used fashion to speak when society refused to listen.

At the beginning of the 1900s, the suffragettes understood this to a tee. If the world insisted on judging women by their appearance and presentation, then appearance would become their weapon. They stepped into crisp Edwardian silhouettes, immaculate whites, regal purples, hopeful greens, not to conform, but to command attention. Their palette became a code of sorts: loyalty, purity and ambition. It was fashion as strategy, as symbolism, as power. The same way tartan once signalled Scottish clans, and centuries later became Westwood’s punk-era rebel cry, these colours stitched politics directly into the fabric of daily life.

As the century unfolded, so did women’s refusal to remain restricted. With each shift came designers who didn’t just follow the cultural moment, they shaped it.

By Doireann Ní Bhroin 30

The Woman who Cut the Strings Controversial, yes, but impossible to ignore. Gabrielle “Coco” Chanel was one of the first to drag womenswear into the modern era. As the corseted silhouette took its last breaths, Chanel offered women something radical: Freedom.

Inspired by the independence women gained during the First World War, she welcomed jersey fabrics, relaxed tailoring and a sporty nonchalance that felt almost subversive. She raised hemlines, borrowed from menswear, and insisted that elegance didn’t require suffering. Her straight. Boyish silhouettes swept through the roaring twenties, sending hemlines skyward and expectations tumbling down.

Of the era, flappers bobbed their hair, ditched the corsets, and danced into smoky jazz clubs wearing Chanel’s liberated pieces. Even Hollywood icons like Marlene Dietrich and Katharine Hepburn embraced full menswear looks, proving that glamour didn’t need an unnatural waistline. She famously said, “A girl should be two things: who and what she wants.”

Fashion finally gave women the outlet to try.

Photos from Pinterest

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FASHION & FEATURES

War, Workwear, and the Rise of

Mary Quant and the Mini

American Style

That Changed Everything

No conversation about fashion and social change can skip the Second World War. With men on the frontlines, women took over the workforce, and their wardrobes followed suit, Practicality was the new chic: sturdy boots, denim, slacks, hair scarves. Utility wasn’t merely a trend, it was survival.

The 1960s exploded with social reform, civil rights, youth culture, second-wave feminism, and fashion was ready to match the energy. Enter Mary Quant, the British designer who transformed rebellion into ready-to-wear.

This era also marked the rise of American designers.

Claire McCardell pioneered sportswear, the very beginning of what we now call “off-duty style”.

Bonnie Cashin introduced more functional pieces like boots and roomy separates that mirrored women’s expanding roles in society.

However, when the war ended, society tried to push women back into domesticity. Christian Dior’s “New Look”: cinched waists, rounded shoulders voluminous skirts, re-romanticised ultra-femininity. Yet, women held onto their newfound comfort, slipping into comfy capris and shorts at home. The tension between tradition and liberation was stitched into every seam.

Inspired by the musicians and dancers of her childhood, Quant created bold, playful clothes that rejected stiffness of earlier decades. One memory in particular stood out to her: a girl in tap-dance class wearing a tiny, pleated skirt and black tights, this would spark the idea that would define a generation, the mini skirt. The mini wasn’t just a raised hemline, it was a manifesto. Young women of the time embraced it as a symbol of sexual freedom, bodily autonomy and refusal to be modest for anyone’s comfort. “I didn’t have time to wait for women’s liberation; I just got on with it,” Quant said, and that she did.

Twiggy, with her cropped hair and waifish frame, became the face of this new era. Her looks shattered the corseted hourglass ideal and ushered in a fresh, modern, unrestricted vision of femininity.

The 70s: Androgyny, Attitude, and the Power Suit The 1970s blurred every boundary imaginable: gender, style, politics. Flowing hair, bright colours, plunging necklines, high-waisted trousers: the decade was a playground of self-expression.

Vivienne Westwood electrified the punk movement with provocative, anarchic designs that challenged every social norm. Anne Klein welcomed the power suit, giving women a unform that matched their growing presence in the workplace. And then there was Miuccia Prada, the intellectual rebel.

Before transforming her family’s luggage business into a global fashion house, Prada was a member of the Italina Communist Party, steeped in feminist and lefy-wing ideology. Her early designs rejected the overt sex appeal dominating the industry, opting instead for subtle glamour, minimalist lines, and what critics lovingly called “ugly chic”. Her work redefined femininity as something intelligent, modern, and unapologetically complex. “Fashion fosters clichés of beauty,” Prada once said, “but I want to tear them apart.” And she did.

“An emancipated woman is one who moves without permission. Throughout the twentieth century, millions fought for equal rights, equal pay, equal opportunity and fashion marched alongside them.

Every shortened hemline, borrowed blazer, rebellious silhouette was another step toward liberation.

Today, we slip into jeans, minis, trousers, sportswear and power suits without a second thought. But each of these pieces was once a revolution. Fashion didn’t just reflect social change, it ignited it, shaped it, and wore it boldly into the future.

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WHEN DOES

LIFESTYLE

Influence become Erasure?

B Y

S I O B H Á N

C A R T E R

I am a mosaic of everyone I’ve ever loved, but at what point do the tiles reflect more of them than me?

Style is one of the most intimate forms of self-expression we have. Yet it’s often one of the first things to shift when we fall in love, form new friendships, or enter new social circles. The line between inspiration and self-erasure is thin, and can easily disappear without us noticing.

At many stages of my life, I’ve felt the pull to dress to please others. That pull has felt stronger in my romantic relationships because, like most people, I want to make the people I love happy. So if I know they prefer a specific colour or silhouette, why wouldn’t I reach for it?

However I do struggle to find a healthy balance with this.

I believe that when you spend a significant amount of time with someone it can become difficult to differentiate between your own, and their, opinion. Your tastes can blur, their beliefs echo in your mind. This applies to friendships as well. But it raises the question, is it possible to be with someone who has a completely different style without reshaping yourself, or losing part of your self identity?

Mimicry isn’t inherently a bad thing.

In fact, stylistic mimicry has shaped our modern world.

In the art world, artists often draw inspiration from each other, adapting and modifying stylistic elements to make them uniquely their own. The artistic movement impressionism, which sought to capture fleeting moments through the use of light and colour, drew much of its influence from the preceding romantic movement, which focused on emotion and individualism. That infusion of feeling is what made impressionism so revolutionary. This shows us that in the right context, and in the right doses, mimicry can be generative, a kind of cross-pollination that progresses style.

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Photo from Pinterest

Psychologists call it mimicry, the subtle, often unconscious act of imitation. Mimicry involves many cognitive mechanisms that act in synergy. Cognitive mirroring, the subconscious process where we unconsciously replicate the behaviours and expressions of others, plays a vital role in this. We can also look to observational learning, which suggests that we learn by observing and imitating others. In fashion, mimicry can be affectionate, bonding, or entirely subconscious. But because it dodges awareness, it’s incredibly hard to recognise, let alone control.

But the questions still remain: Do you let your partner influence your style?

Have you ever restrained yourself from wearing something you liked because of someone else's opinion?

Can you wear what you want on a night out without backlash?

Your style is an integral part of your self-identity. It’s so much more than just fabric, it’s how you present yourself to the world. But at what point do you stop presenting yourself and start projecting others? Maybe the real challenge isn’t avoiding influence altogether, but learning to recognise what parts of your style come from yourself and which you’ve borrowed without noticing.

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Ireland Fashion Week Sea Show Photographer: Anastasiia Redko

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SPOTLIGHT

IDENTITY AND REINVENTION

Photos from @stonedtodeath on Instagram

IN CONVERSATION WITH BEV OF STONED TO DEATH

By Emily Kenyon

The revival of Irish culture through jewellery has become increasingly popular in recent years, as traditional Irish designs have integrated into the renaissance of Irish fashion and influence.

I had the chance to interview Bev Armstrong, founder and owner of the Irish jewellery brand, Stoned to Death. They are currently based in London with the intention of moving back to Dublin in the future.

Over the years, they have created all kinds of pieces, ranging from rings, necklaces, and earrings with Irish-inspired designs and themes, the most well-known being the pint Claddagh ring.

Bev found their love of jewellery making and crafting when they took a year off from university; their friends advised them to take up a hobby to focus on something that wasn't work or university.

This sparked the idea of getting into beading, and it quickly turned into jewellery making. What began as a simple attempt to avoid burnout from university soon became something much more consuming. Bev described their transition into the jewellery-making business as “it's a bit of a saga” and stated that many of their skills were self-taught along the way.

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Though Bev didn’t have any formal training in making jewellery, they relied on online resources and videos to develop their skills, especially through experimentation.

As they transitioned to doing this as a full-time profession, they began investing in better tools and materials to produce more durable products, gradually refining their creative identity. “If I wanted to make something, I’d just look up how to do it and figure it out,” they say. Bev’s self-taught approach is evident in the brand’s distinctive style and aesthetic - this one feels both instinctive and unrestrained by the traditional expectations of the jewellery-making industry.

Bev’s move to London was also an inspiring and disorienting experience for them and their brand. While the large bustling city offered access to a vibrant creative art scene, it brought a sense of intensity that contrasts with the sense of community Bev associated with home. “London is exciting, but it is also overwhelming,” they explain. When asked to describe the city, Bev said, “Everyone's constantly rushing, competing, hustling.” This experience abroad has shaped their perspective and opinion not only on where they want to live, but also on how they want to work - striving to prioritise authenticity and sustainability over relentless productivity.

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That same sense of authenticity has been central to Bev’s design process, which focuses on creative intuition rather than structure. “It’s completely vibes,” they say. Bev walked us through their creative process, saying they create in bursts of inspiration rather than adhering to a strict timeline or forcing creativity. This process causes ideas to emerge more organically. Their creative approach is definitely reflected in their output, where traditional Irish motifs are usually reimaged through a contemporary, more muted lens.

Strong themes of Irish and queer identity run throughout their work, often woven into pieces that challenge conventional ideas of gender in jewellery.

“I always found jewellery that was either very feminine or very masculine,” Bev notes, “and I wanted something in between.” This in-between space in their jewellery-making has become a defining feature of Stoned to Death, offering consumers pieces that feel both personal and culturally resonant.

While jewellery remains their main focus, Bev has also explored tattooing as a second creative outlet out of pure enjoyment. Unlike jewellery, which involves a greater sense of permanence, tattooing is done more casually. “It’s fun, but I don’t take it that seriously,” they admit. This secondary passion allowed for a different kind of creative experimentation for them - one that complements their main area of work rather than detracts from it.

Using social media platforms has played a significant role in expanding Stoned to Death's engagement among the Irish and the global diaspora. Bev talked about a strong sense of connection with Irish customers living abroad, many of whom are drawn to the brand’s ability to evoke a sense of home. “I get messages like, ‘I want to send this to a friend abroad because it reminds me of home,” they say.

SPOTLIGHT

But maintaining a strong online presence always has its challenges. The demand for constant engagement and posting can be exhausting, and Bev is candid about their frustrations with it. “It's the hardest part of my job,” they tell us, though they remain committed to representing themselves as transparently as possible: “What you see online is pretty much me.”

Among all their creations, certain pieces stand out as particularly meaningful. The Molten Harp ring, which Bev wears daily, holds personal significance, while custom projects - such as a piece created for Irish rapper Blue Niall- highlight their ability to merge both contemporary design and Irish cultural symbolism. Bev highlighted additional experimental works, such as a full-body star chain necklace, which demonstrated their growing creative ambition.

Looking forward, Bev’s plans remain intentionally loose and malleable. While they express a strong desire to return to Ireland and establish a studio there, their main focus remains on the present. Their reluctance to over-plan reflects the ethos that carries through into their design process: a commitment to staying responsive, adaptable, and purely true to their instincts.

Ultimately, Stoned to Death is more than a simple jewellery brand - it is an authentic reflection of a personal journey shaped by burnout, resilience, and self-discovery. Bev’s advice to their younger self is an example of this journey: “Stick to your guns. Don’t let people walk all over you.” It is a sentiment that resonates not only in their creative work but also within a broader narrative of professional creatives sending out authentic messages and creating on their own terms. It was lovely to interview Bev and get to know them better; they are truly an inspiring person with a lot to say and create. I am looking forward to seeing where their passions take them.

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Photographer: Kate Gaidash Model: Paul McFadden

STÍL 2026 IS BRINGING BACK THE PAST!

ARTS & CULTURE

2016

OR AT LEAST THE PARTS WE WANT BACK...

... SHE’S COMING BACK !

Each January brings with it the familiar impulse to look forward, to reset, and to imagine the year ahead. Yet 2026 opened with an unexpected twist: instead of gazing into the future, millions online are looking back, specifically to 2016. Social media has declared that “2026 is the new 2016,” and the sentiment has spread with remarkable speed. But what exactly is driving this wave of nostalgia? For many now in their mid‑to‑late twenties, 2016 represents a formative moment. It was the era of late‑teen self‑discovery, when Kylie Jenner, Gigi Hadid, and the rise of influencer culture shaped how young people imagined adulthood. It was also a time of distinctive, sometimes questionable, aesthetics: statement necklaces, over‑drawn brows, chokers, and eyeshadow palettes that could rival RuPaul’s stage looks. The so‑called “Tumblr era” had a visual identity so recognisable that even a single grainy, oversaturated selfie can instantly transport viewers back in time.

By Fiona Corcoran

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e h t 6 2 0 2 s I

2016? . sthetics than ae e r o a m r bout nd fo nd is a shortha The tre e re‑AI m p eco ithm, has b r o lg ‑a e 2016 felt pr l media mic, e ia d c o n s a ‑p pre e when te‑2025 tive. A la t. A tim a e n m r r e o t f r in tent n pe ted con her tha a t r a e r n l e u g f I‑ t play cting A interne ent reje set” the e m r e “ v o o t e m tak s sers d low‑s raged u n u a o c s n e e m has deeply ssic me algia is ing cla t iv s v o e n r e y b hen , th riod w r many e o F p . g a in post recalls ving up when sa l. It , a r n e o t s h r g e p re li e felt ities we e palett il h p ib r s o n o M resp en the harles x and wh ames C J l, e a h o t g r l fo ing ncia maintain jor fina a s a m w a a like dilemm ense of kes a s digital o v t e s e o g ls es, big It a deepfak treaks. e s r t o f a e h b c t Snap sure to interne he pres t ce. An e n r e o c f o e n in olling, b oomscr before d oment. every m e is t e n mo

this nostalgia is not imagined.

Recent reporting shows that e surged into the millions, TikTok videos tagged #2016 hav lion posts referencing the year, Instagram has surpassed 37 mil ease in user‑generated 2016 and Spotify reports a 790% incr playlists since New Year’s Day. The revival spans everything from fashion to music to social media, with chokers, skinny jeans, wired headphones, and maximalist makeup coming back into rotation. But the resurgence isn’t purely about recreating old looks, it’s about recapturing the mindset that accompanied them.

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Online, creators talk about wanting to post like “no one’s watching” again, embracing candid photos, group selfies and colourful Instagram filters. The nostalgia of an internet with room for imperfection reminds us not to take ourselves too seriously.

Whether 2026 truly becomes “the new 2016” remains to be seen. But the longing itself reveals something real: a collective desire to reclaim a version of life that felt freer, funnier, and more human. ogue Photos from V

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RETURN

TO Photographer: Adair Arnold Makeup: Tristan Kozlowska Clothes: Golazzo Football Shoot Director: Fiona Corcoran Models: Emily Kenyon Anna Harrison

RETRO

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Photographer: Adair Arnold Makeup: Tristan Kozlowska Clothes: Golazzo Football Shoot Director: Fiona Corcoran Model: Victoria Ibukun

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Photographer: Adair Arnold Makeup: Tristan Kozlowska Clothes: Golazzo Football Shoot Director: Fiona Corcoran Models: Anna Linetska Victoria Ibukun

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Photographer: Adair Arnold Makeup: Tristan Kozlowska Clothes: Golazzo Football Shoot Director: Fiona Corcoran Model: Amy Warrington

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Photographer: Adair Arnold Makeup: Tristan Kozlowska Clothes: Golazzo Football Shoot Director: Fiona Corcoran Models: Emily Kenyon Alyssa Barrett

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Dress for Success Photos sourced from UCC Dress for Success

Reinventing professional style: Sustainable, Accessible, Student‑Focused

T

his year, I am grateful to say that I have been the project leader of the Dress for Success initiative funded by the UCC Alumni Fund. Fund Dress for Success at UCC is centered on empowering students to succeed in their early-career paths through knowledge of selfpresentation, style, and sustainability. Dress for Success operates as part of UCC’s Career Services Graduate Attributes Programme (GAP), in collaboration with the UCC Fashion Society, thereby strengthening its role in a broader student-supporting way. One of the aims of DFS is to ensure that financial barriers do not prevent students from presenting confidently in professional environments. Our initiative to provide free professional attire for interviews, placements, and other career-related opportunities supports students at a critical time in their early careers. Since its launch in September 2025, the project has received over 300 donated clothing items, with more than 260 distributed to students. This statistic highlights the impact of this initiative in UCC. The Interview Wardrobe has been one of the most impactful parts of this initiative, offering a practical solution to a challenge that many students face. Providing free clothing to students in UCC with openings twice a week. We displayed a wide selection of clothing, including suit jackets, button-downs, blouses, dresses and skirts, shoes, trench coats, and more. Staff, students, and alums kindly donated all of this clothing to make the opening possible. By removing this cost barrier for students, Dress for Success allows students to focus on their skills and abilities rather than the cost and stress of preparing for professional opportunities.

As part of UCC Green Week, we held a series of events and videos on how to dress sustainably and professionally, including practical tips for achieving this.

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We ran a "Build Your Own Sustainable Capsule Wardrobe " event to promote sustainability in fashion and the power of sustainable consumption.

We also emphasised the importance of clothing care as a simple but effective way to support sustainability. Learning how to maintain and extend the life of clothing is the best way for students to reduce waste and move toward circular fashion.

Sustainability is one of the key focuses of our mission, but Dress for Success also aims to present it in a way that feels realistic and achievable for all students. Rather than promoting unrealistic lifestyle changes, the initiative aims to encourage small, practical steps such as re-wearing outfits, restyling basic pieces, and making more mindful purchasing decisions and avoiding fast fashion when possible.

In doing this, the initiative is connecting sustainability with accessibility.

By normalising the purchase of second-hand clothing in professional settings, Dress for Success challenges traditional, often rigid ideas about what “professional” looks like, while also making career preparation more inclusive. We want to show that students do not need a 400 euro suit to be taken seriously in their early careers, only the right knowledge, style hacks, and confidence.

STÍL We are also excited to be collaborators with VOICE Ireland, a non-profit organisation that advocates for sustainable living and continues to promote circulareconomy practices across the country, mainly in relation to waste reduction and responsible consumption. This collaboration provides a strong opportunity to connect campus-based initiatives at UCC with national conversations on sustainability and its impact on human rights. Giving students a broader understanding of how individual actions contribute so much to environmental change.

A key development over the past year has been Dress for Success's transformation to reflect the needs of the student body better. While the original initiative internationally primarily focuses on encouraging women to enter the workforce, we have worked to reshape it into a more inclusive, student-centred campaign. Dress for Success at UCC is now open to all students, regardless of gender identity, background, age, or field of study. This shift has been essential in creating a space where everyone can feel supported in their professional development without being limited by rigid expectations of who “belongs” in certain spaces.

Looking ahead, one of our main goals is to ensure the longevity of Dress for Success at UCC. We are committed to continuing the Interview Wardrobe next year, maintaining it as an accessible resource for students preparing for interviews, placements, and professional opportunities. Also, we aim to expand our engagement by hosting more on-campus events, including workshops on personal styling, sustainable shopping habits, and building confidence through self-expression.

These events will always prioritise inclusivity and accessibility, ensuring that all students feel equally welcome and represented.

By Emily Kenyon

Dress for Success is about more than dressing professionally. It is about confidence, accessibility, sustainability, and creating opportunities for students to present themselves in ways that feel authentic and empowering. By combining sustainability with practical support and accessibility, we hope to continue building a community that values both personal expression and collective responsibility. It has been a true honour and pleasure to serve as the project leader for DFS this year, and I am excited to see where the initiative will go next year. I want to thank the DFS committee and volunteers for all their help this year, along with the staff on UCC’s Career Services Graduate Attributes Programme and the Alumni Fund for making this all possible.

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SPOTLIGHT AN BAILE A IOMPAR LEAT:

SCÉAL FÍOR JEWELLERY

All photos from Fíor Jewellery

Bhí spiorad gcliabhán.

fiontraíochta

ag

Seán

Leddin

ón

I bhfad sular bhunaigh sé Fíor Jewellery, bhí sé ag triail smaointe beaga gnó cheana féin — ag díol milseán ar mheánscoile, ag ceannach agus ag díol leathanaigh ar na meáin shóisialta nó ag obair mar bhainisteoir meáin, agus ag lorg bealaí le hairgead a dhéanamh as gach deis a d’fheicfeadh sé. Ag breathnú siar air anois, ní raibh na hiarrachtaí sin chomh mór faoi bhrabús agus a bhí siad faoi fhiosracht agus amharc a thabhairt sa todhchaí.

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“Is dóigh liom go raibh mé i gcónaí i mo fhiontraí sraitheach,” a deir sé. “Bhí rud éigin ar siúl an t-am ar fad agam sa chúlra.”

Sa lá atá inniu ann, tá an fhiosracht sin tar éis fás ina Fíor Jewellery — branda a mheascann dearadh nuaaimseartha le cultúr agus teanga na hÉireann. Cé go bhfuil an tseodra féin mín leochaileach, tá an smaoineamh atá taobh thiar den bhranda thar a bheith láidir: cabhrú le daoine braistint den bhaile a iompar leo cibé áit a dtéann siad.

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Do Leddin, tháinig an inspioráid ó dhá rud a bhí lárnach ina shaol i gcónaí: Gnó agus an Ghaeilge. “Tá an gnó ar cheann de na rudaí is mó a bhfuil dúil agam iontu sa saol,” a mhíníonn sé.

“Agus is í an Ghaeilge an dara rud is mó a bhfuil paisean agam di.” Ó tharla gur fhreastail sé ar scoileanna lán-Ghaeilge agus é ag fás aníos, bhí an Ghaeilge ina cuid nádúrtha dá fhéiniúlacht. Nuair a thosaigh sé ag smaoineamh i gceart ar bhranda a chur ar bun, ba léir dó gurbh é an bealach ceart ná fiontraíocht agus cultúr na hÉireann a thabhairt le chéile.

Ag an am céanna, thug sé rud spéisiúil faoi deara i margadh na seodra in Éirinn. “Bhí sé sóiléir dom go raibh margadh na seodra Éireannaí thar a bheith as dáta,” a deir sé. Cé go raibh siombailí traidisiúnta cosúil leis an gCladdagh fós coitianta, níor oiriúnaigh go leor brandaí do threochtaí nuaaimseartha ná do mhargaíocht dhigiteach. Do dhuine a d’fhás aníos ag tógáil pobail ar líne, ba dheis shoiléir é sin.

Agus an oiread sin daoine óga Éireannacha ina gcónaí thar lear, in áiteanna cosúil leis an Astráil, Stáit Aontaithe Mheiriceá agus ar fud na hEorpa, bhí an ceangal cultúrtha níos tábhachtaí ná riamh. Thuig Leddin go bhféadfadh an tseodra a bheith níos mó ná maisiúchán amháin — d’fhéadfadh sí a bheith ina siombail, meabhrúchán beag ar fhéiniúlacht agus ar an mbaile.

Mar sin féin, cosúil le go leor dá thionscadail roimhe sin, thosaigh Fíor mar thionscadal taobh thiar den bpríomhobair. Tháinig an pointe cinniúnach gan choinne nuair a bhí Leddin ar cuairt J1 i San Diego.

Gan choinne ar bith, fuair sé glaoch ó dhuine a raibh suim aige an gnó a cheannach. “Ba é sin an chéad uair riamh a bhí duine ag iarraidh ceann de mo ghnólachtaí a cheannach,” a deir sé. “Sin an uair a thuig mé go bhféadfadh rud ceart a bheith idir lámha agam.” Ón bpointe sin amach, ní raibh Fíor ina thionscadal sealadach níos mó — bhí cuma air anois go bhféadfadh sé fás i ndáiríre.

Cuireann ainm an bhranda a fhealsúnacht in iúl go foirfe. Is é “Fíor” an focal Gaeilge do “true” nó “real”, agus dar le Leddin, is é an bhrí sin a threoraíonn gach rud a dhéanann an branda.

Tá an smaoineamh sin le feiceáil sna dearaí féin. Tá focail Ghaeilge ar nós grá, sonas agus síocháin le fáil ar go leor de na píosaí. Déantar siombailí traidisiúnta Éireannacha a athmhúnlú freisin i stíleanna níos comhaimseartha.

Ceann de na dearaí is fearr le Leddin ná an muince péarla Claddagh, a tháinig as rud chomh simplí le treocht a thabhairt faoi deara. Agus é ag déanamh taighde ar smaointe do bhailiúchán nua, thosaigh sé ag feiceáil muincí péarla i ngach áit, go háirithe na dearaí cáiliúla ó Vivienne Westwood a bhí forleathan ar na meáin shóisialta. In áit an dearadh a chóipeáil go díreach, chonaic sé deis an treocht a léirmhíniú trí lionsa Éireannach.

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Ba é an toradh ná muince péarla leis an tsiombail thraidisiúnta Claddagh — meascán de inspioráid faisin nuaaimseartha agus oidhreacht na hÉireann. “Bhí sé thar a bheith speisialta an rud ar fad a fheiceáil ag teacht chun beatha ó smaoineamh simplí,” a deir sé.

Cé go bhfuil ról tábhachtach ag an dearadh, is é an nasc mothúchánach atá taobh thiar den tseodra is tábhachtaí dó. Téann go leor custaiméirí i dteagmháil leis an mbranda ar líne chun scéalta a gcuid ceannachán a roinnt, go háirithe iad siúd atá ina gcónaí thar lear.

Ach dó féin, ní bhaineann branda a thógáil ar líne le margaíocht amháin — baineann sé le pobal. háirithe go dtí an Astráil agus Stáit Aontaithe Mheiriceá. “Is é an sprioc is mó ná leathnú isteach sna háiteanna ina bhfuil formhór na nÉireannach,” a deir sé.

Faoi láthair, áfach, tá an fócas fós ar rud fiúntach a thógáil. Trí theanga, cultúr agus dearadh, tá Fíor Jewellery ag leanúint ar aghaidh ag fás — ní hamháin mar bhranda, ach mar phobal.

Oibríonn Fíor le líonra de thart ar 60 go 70 cruthaitheoir ábhair a chuidíonn leis an mbranda a chur chun cinn agus a theachtaireacht a roinnt. Is cainteoirí óga Gaeilge nó daoine a bhfuil ceangal láidir acu le cultúr na hÉireann cuid mhaith díobh, rud a fhágann go mbíonn na comhoibrithe níos fearr ná comhpháirtíochtaí traidisiúnta le lucht tionchair.

Taobh amuigh de na meáin shóisialta, d’eagraigh an branda roinnt imeachtaí “pop-up” ar fud na hÉireann, i gCorcaigh, i nGaillimh agus i mBaile Átha Cliath san áireamh. Tugann na himeachtaí seo deis do chustaiméirí, do chruthaitheoirí agus do chomhoibritheoirí bualadh lena

chéile aghaidh ar aghaidh — rud a mheasann Leddin a bheith riachtanach chun fíorcheangail a chruthú. “Nuair a chuireann tú gach duine isteach sa seomra céanna, sin é mar a chruthaíonn tú pobal,” a deir sé.

Ag féachaint chun cinn, creideann Leddin go bhfuil neart spáis fós ag an mbranda le fás. Sheol Fíor le déanaí le “Kilkenny Design”, ceann de na miondíoltóirí Éireannacha is mó le rá, rud a léiríonn an chéad chéim mhór isteach i miondíol fisiciúil.

Ach tá an fhís níos leithne fós ná Éire amháin. Agus an diaspóra Éireannach chomh mór sin ar fud an domhain, tá súil ag Leddin an branda a leathnú go hidirnáisiúnta amach anseo, go

Amy Warrington - Scríbhneoir Aisling Ní Mhathúna - Aistritheoir Keep reading to see the English text of this article next!

Agus do go leor Éireannach atá ina gcónaí i bhfad ó bhaile, is féidir leis an meabhrúchán beag sin ar fhéiniúlacht níos mó a chiallaíonn ná mar a shílfeá.

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SPOTLIGHT CARRYING HOME WITH YOU:

THE STORY BEHIND FÍOR JEWELLERY

All photos from Fíor Jewellery

Sean Leddin has always had an entrepreneurial streak.

Long before launching Fíor Jewellery, he was already experimenting with small business ideas, selling sweets in secondary school, flipping social media pages, and finding ways to make money from whatever opportunities he could spot. Looking back, those early ventures were less about profit and more about curiosity.

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“I suppose I’ve always been a serial entrepreneur,” he says. “There was always something going on in the background.”

Today, that curiosity has grown into Fíor Jewellery, a brand that blends modern design with Irish culture and language. But while the jewellery itself may be delicate, the idea behind the brand is surprisingly powerful: helping people carry a sense of home with them wherever they go.

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For Leddin, the inspiration came from two things that have always been central to his life: business and Gaeilge. “Business is one of my biggest passions in life,” he explains.

“And my second biggest passion would be the Irish language.”

Having attended Irish-language schools growing up, Gaeilge was a natural part of his identity. When he started thinking seriously about launching a brand, combining entrepreneurship with Irish culture felt like the obvious direction.

At the same time, he had noticed something interesting about the jewellery market in Ireland.

“I felt like the Irish jewellery market was extremely outdated,” he says.

While traditional Irish symbols like the Claddagh remained popular, many brands hadn’t adapted to modern design trends or digital marketing. For someone who had grown up building online communities, that gap felt like an opportunity.

At the same time, he had noticed something interesting about the jewellery market in Ireland. “I felt like the Irish jewellery market was extremely outdated,” he says.

While traditional Irish symbols like the Claddagh remained popular, many brands hadn’t adapted to modern design trends or digital marketing. For someone who had grown up building online communities, that gap felt like an opportunity.

Still, like many of his earlier ventures, Fíor initially started as something of a side project. The moment that changed everything came unexpectedly while Leddin was on a J1 summer in San Diego.

Out of the blue, he received a call from someone interested in buying the business. “It was the first time anyone had ever wanted to buy one of my businesses,” he says. “That’s when it hit me that maybe I was actually on to something.” From that moment on, Fíor stopped feeling like a temporary project and started

looking like something that could genuinely grow. The brand’s name captures its philosophy perfectly.

Fíor is the Irish word for “true” or “real”, and according to Leddin, that meaning shapes everything the brand does. “The mission behind the brand was to keep a true sense of home with you at all times,” he says.

That idea is reflected in the designs themselves. Many of Fíor’s pieces feature Irish words such as grá, sonas and síocháin. Others reinterpret traditional Irish symbols in more contemporary styles.

One of Leddin’s favourite designs, the Claddagh pearl necklace, came from something as simple as noticing a trend. While researching ideas for a new collection, he began seeing pearl necklaces everywhere, particularly the iconic pearl designs by Vivienne Westwood that were popular across social media. Instead of copying the design directly, he saw an opportunity to reinterpret the trend through an Irish lens.

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The result was a pearl necklace featuring the traditional Claddagh symbol, blending modern fashion inspiration with Irish heritage. “Just seeing that whole thing come to life from a simple idea was really special,” he says.

But while design plays an important role, the emotional connection behind the jewellery is what matters most to him. Many customers reach out to the brand online to share the stories behind their purchases, especially those living abroad.

But for him, building a brand online isn’t just about marketing, it’s about community.

“The biggest goal is expanding into where the majority of Irish people are,” he says.

For now, though, the focus remains on building something meaningful.

Through language, culture and design, Fíor Jewellery continues to grow, not just as a brand, but as a community.

Fíor works with a network of around 60 to 70 content creators who help promote the brand and share its message. Many of them are young Irish speakers or people who feel strongly connected to Irish culture, making the collaborations feel more authentic than traditional influencer partnerships.

Beyond social media, the brand has also hosted a number of pop-up events across Ireland, including in Cork, Galway and Dublin. These events allow customers, creators and collaborators to meet face-to-face, something Leddin believes is essential for building real connections.

“Bringing everyone into the same room, that’s how you create a community,” he says.

Looking ahead, Leddin believes the brand still has plenty of room to grow. Fíor recently launched with Kilkenny Design, one of Ireland’s leading Irish retailers, marking the company’s first major step into physical retail.

But the bigger vision lies beyond Ireland. With such a large Irish diaspora spread across the globe, Leddin hopes to eventually expand the brand internationally, particularly to Australia and the United States.

Written by Amy Warrington Translated into Irish by Aisling Ní Mhathúna

And for the many Irish people who find themselves living far from home, that small reminder of identity can mean more than you might expect.

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STÍL Ireland Fashion Week Slane Castle Show Photographer: Guilherme Resende

Ireland Fashion Week

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STÍL Ireland Fashion Week Sea Show Photographer: Anastasiia Redko

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Ireland Fashion Week Rashiiid Debut Show Photographer: Guilherme Resende

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Ireland Fashion Week Sea Show Photographer: Olena Po

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FASHION & FEATURES

Ireland Fashion Week WHY IT’S ONE TO WATCH...

Throughout the years, New York, Milan, London and Paris have carried the commercial weight of the fashion industry, running shows back-to-back each season. Free from the pressures of global trend cycles, Ireland launched its very first fashion week last October, a €1 million production. It offered several shows rooted in heritage, identity and sustainability. Founded by Irish luxury and tech entrepreneur Ashley McDonnell, it also gave new designers the opportunity to showcase their work and has put a spotlight onto Irish fashion design.

The opportunity is open to designers based in Ireland or Irish designers abroad. If selected, designers are invited to attend bootcamps which give them masterclasses on branding, legal aspects and social media to prepare for the week itself starting October 7th. The small scale and intimacy of the show allow for a greater engagement between the audience and the garments.

Ireland Fashion Week was praised for its inclusivity, covering 100% of the costs associated for recent graduates, as well as current fashion design students, bringing their looks from campus to catwalk. The upcoming 2026 show “RINCE” is a dedicated show for this demographic and is free to enter.

Photographer: Guilherme Resende

This opportunity is giving young Irish designers an achievable and meaningful chance at boosting their brand visibility and interacting with industry professionals. There is an evident emphasis on sustainability, and if this events’ success continues, it could take a creator from a TY “Junk Kouture” student to an Irish Fashion Week graduate designer.

This year’s show will include a new “IRISH EDIT” interactive showcase. This immersive experience is almost a modernisation of the traditional Irish storytelling, with the same effort to have everyone in the room involved, in awe, and feel as though they are learning something new. This exhibit gives designers a chance to test both their fashion and accessories, without committing to the pressure of an entire runway show. Designers remain present with their pieces, giving them the opportunity to network with attendees and discuss their creations. Compared to rigid hierarchies that dominate larger worldwide shows, conversations can happen organically at Irish Fashion Week, particularly in the interactive showcase. This helps emerging creatives to feel visible rather than marginalised, contradictory to “The Devil Wears Prada”, and the stereotypes that it conveyed to exist in the fashion industry.

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FASHION & FEATURES

Ireland Fashion Week Slane Castle Show Photographer: Guilherme Resende

Irish Fashion Week embraced influencers as a core part of the event, with Instagram updates from Irish creators such as Lauren Whelan, Ella Deasy and Aoife O’Farrell. This insight gave the audience a clearer view into the world of Irish design, just as Emma Chamberlain’s “fashion week with my dad” vlog did so for Paris. While the creative world can seem unattainable, influencers can make their followers feel that they too are at these events, often sparking an interest in fashion for viewers.

This October, there are a planned 8 shows, all with a different theme. Last year, we saw Rachel Maguire bring her bold and expressive designs to the Douglas Hyde Gallery, with some of her pieces seen previously on performers Doja Cat and Megan Thee Stallion. This streetwear show mirrors expressive aesthetics have been seen in the fashion world before, particularly in Alexander McQueen’s theatrical shows that step outside the basic runway model. His famous winter 1998 London show featured iconic pieces such as Shalom Harlow’s spray-painted dress, or a model standing in a ring of fire to close the show.

It wouldn’t be an Irish event without an inyour-face heritage aspect, so luckily there's an entire show titled “IRISH ROOTS” set to return in October. Focusing on Irish history, this event was last honoured at Slane Castle, featuring some of Ireland’s most reclaimed names.

Participants included Avoca, Jack Murphy Clothing, and Triona. Perhaps the first runway to see models strut down in Aran knits and Donegal tweeds, it demonstrated the unique, contemporary craft that is Irish design.

With 7 shows, 55 designers and over 2,000 attendees, it’s fair to say Ireland’s first attempt at fashion week was a success. This year it continues, with an expansion of 75 spots for designers, including runway shows and the new interactive showcase. Tickets are released for the general public closer to the event; however, industry professionals such as photographers or buyers can apply for special access. This show is set to be a reflection of where Irish fashion is right now and where it’s going next, whether it be to mass in Aoife McNamara, or to the pub in Paul Costelloe.

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Ireland Fashion Week Sea Show Photographer: Anastasiia Redko

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Photographer: Adair Arnold Makeup: Tristan Kozlowska Clothing: Golazzo Football Shoot Director: Fiona Corcoran Model: Anna Harrison

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University College Cork Coláiste na hOllscoile Corcaigh Fashion Society