Dense wool and necessity-driven tweed have been making their way to the global markets, and even the world’s most popular runways. But where did it all start, and what’s the appeal? The College Tribune sat down with Clare Grennan to discuss all things Irish Design.
Irish handicrafts go back a long time. From the traditional leine (tunic) and brat (heavy woollen covering) worn by Gaelic clans, to the change in clothing enforced by colonialism, to the revival of true Irish handicrafts, such as Aran Sweaters and Donegal Tweed.
Historically, each craft arose from some kind of necessity. Aran sweaters were traditionally knitted for fishermen going out to sea. Donegal tweed was meant to keep the wearer warm with its weatherproof and durable quality. Carrickmacross lace was a necessary cottage industry during the famine. Of course, as with Britain’s other colonies, Irish industries were also impacted by industrialisation. With the rise of globalisation and the subsequent availability of cheaper alternatives, like fast fashion, these products no longer have a monopoly in the Irish Market. But have the traditional arts died?
Clare Grennan, co-founder and jeweller at The Irish Design Shop, spoke to me about the globalisation of Irish handicrafts. The Irish Design Shop, established in 2008, sells and promotes the work of Irish-designed and made products, made in Ireland.
Grennan explains the process behind curating the pieces, saying, “We would be very specific with what we sell. Many of our products as well are designed and made exclusively for our shop. So my business partner and I might come up with a design idea. We might collaborate with a skilled maker, like glassblowers and jar-point, on our range of stemware. So we have something exclusive to our shop and something really special. Other products are very much curated and edited, so we don’t sell work just because it’s made in Ireland; we sell work because a lot of the pieces should be created for the brand”.
What keeps a craft alive is its utility. Adapting and innovating traditional items for modern functionality and everyday use is the primary goal. From hand-woven textiles to throwing cups, traditional techniques and processes have a place in the modern world. The fact is, people have, do, and will continue to use basics like ceramics and blankets. As the times change, styles and popular colours also change, but the weave, the techniques used and the materials used are largely the same. Laura and Clare design products that they would use. Their most common demographic is women between the ages of 30 and 60, looking to add a piece to their home that they will cherish. This proves that the demand for traditional handicrafts is not dead or unpopular, but a continuing, accelerating process, reliant on patronage, visibility and trust.
The shop is quite busy, with a following from residents, as well as tourists. One of the most effective ways of popularising Irish cloth on a global platform was through the many Irish designers who went on to design outfits for prominent global icons. One of the most famous of these was Sybil Connolly, who notably designed for former First Lady Jackie Kennedy in the 1960s. She adapted traditional uses for Irish cloth to fit the everyday needs of a lady, such as Mrs Kennedy, with an example being the use of Irish handkerchief linen for a dress. Over the years, Ireland has produced more and more designers who have gone on to represent Irish values on a global scale, such as Roisín Pierce (known for contemporary lace and crochet creations rooted in Irish craft tradition), Irene Gilbert (who sourced from Avoca Hand Weavers and Magee & Co. of Donegal, working tweed, linen and Carrickmacross lace into couture), and many others. One of the examples nearest to home is the Dior Fashion Show in Fall 2027, inspired by Dior’s creative director, Jonathan Anderson, who originates from Northern Ireland. The collection will include traditional Irish textiles, including Donegal tweed, as well as literary references such as Bram Stoker’s Dracula and James Joyce’s Ulysses.
In the recent past, the return to traditional handicrafts has seen a significant surge in support. Surprisingly, it’s Millennials and adult Gen Z that are contributing to demand. But this shows a shift in trend back to valuing practicality and heritage. Why it continues to remain not in high demand among the younger crowd is the price factor. If you look at every piece that was made by an artisan, you realise that nothing is frivolous. Every piece is a keepsake for a lifetime, if not more.
Unfortunately, Irish artisans face several challenges, too.
“You’d be surprised at how little Irish rule is found in products, but even our Irish sheepskins that we sell downstairs [in the shop], so those sheep are from the west of Ireland, but the hides have to go to,” says Grennan “I think it’s France because there are no tanneries in Ireland. To make and treat leather, considering we’re an agricultural country, you know, it’s mad that we have to export that and then it’s like it’s sent back to us.”
This means there are costs and unnecessary production timeline delays involved in the process, which could be a smoother, more localised series of events.
Climate change is another factor. Due to the recent summer heatwave, the river which powers a mill dried up. This made running the mill impossible. Then, from the wet weather in January and February, the potters weren’t able to get their work dry enough for the kiln.
As Grennan explains, “ It is having an impact, but Irish makers are so inspired by the Irish landscape, and they’re passionate about sustainability, and they produce things most sustainably. It’s heartbreaking to see them being impacted by climate change, you know? It’s a shit show, isn’t it? Climate change.”
Getting products onto the market at a larger scale is also difficult. Artisans often start in rural local arts fairs, and on a much smaller scale. So, to some extent, it’s also about luck; finding the right brand/ opportunity to get a name out there and promote the brand.
Another issue is output. Most artisans prefer to work alone, but this means that they can only produce a very limited quantity, often supplying only to a single business. This means output remains limited. Some artisans, like Nicholas Mosse, have a team of artisans working on the products, but many artisans choose not to take the step of hiring employees. Delegating tasks such as working on a website, brand growth, logistics, etc., gives the artisan more time to focus on production, even if he or she continues to be the only artisan working with the brand. This is an extra cost to the brand, but with government funding and other support, it would significantly increase visibility for traditional brands.
Ireland has a rich history of traditional crafts, which are gaining appreciation on a global level. The shift back to patronage of the work of artisans is increasing, but for the industry to support this demand, they need better government funding support and better systems in place. The fact remains that functionality is the heart of Irish handicrafts. And so, it comes as no surprise that modern brands are adapting these materials for use in their collections, all over the world.
Natanya George – Contributor