The future of Irish fashion …
How did you get your start in fashion? I wasn’t the kind of kid who was obsessed with fashion, but I’ve always loved making things with my hands and telling stories: that’s a thread that’s run through my life and creative practice. Ultimately, I started my brand because I saw a gap. When I moved back to Ireland after living in Seoul, South Korea, I realised there were very few opportunities for textile practitioners here. Starting Mar Knitwear felt like the best way to merge my technical skills with my creativity.
Tell us about your personal style and collections? I gravitate toward muted forest tones and stylised silhouettes. I’d describe my collections as relaxed yet structured, with a whimsical charm.
What is it about knits that always entices you? There’s so much character in knitwear which is what drew me to it in the first place. I was introduced to knitting machinery in college and became fascinated by its endless possibilities. Being able to create bespoke fabrics essentially from thread is what excites me most. There’s also a playful quality to knitting that I really admire.
How does sustainability factor into your work and life? Designers are natural problem-solvers. From the very beginning of my practice, sustainability has been at the core. We’re taught in college that the fashion industry is one of the biggest global polluters and that it’s our responsibility to implement sustainable practices. With Mar Knitwear, I’ve kept production in-house, not just for creative control, but also as a sustainability measure. For my most recent collection, I worked exclusively with local materials: Donegal Yarns, in particular. It was important to me to honour heritage textiles, but with a contemporary twist.
Tell us about your new collection that you showed at Dublin Independent Fashion Week: My latest collection Merits Over Mischief was inspired by a sense of boyish academia. Earlier this year, I visited Taiwan and travelled high into the Alishan mountains. While wandering through the mist, surrounded by ancient trees, I stumbled across a small primary school. It was such a striking image – this little school nestled in a beautifully haunting landscape. That moment sparked my imagination. I began to wonder about the kind of students who might attend that school, but rather than designing for the neat and tidy students at the front of class I wanted to create uniforms for the misfits – the kids at the back who would rather be out catching frogs in the forest and getting into trouble. The collection blends classic school uniform silhouettes with playful details: paper plane-inspired collars, pencil buttons and other mischievous touches.
The luxury fashion scene in Ireland is changing rapidly. What do you see as the biggest positive to this new frontier? The most exciting development is DIFW. It’s a designer-led event and community that’s been created by designers, for designers. What’s been truly heartwarming is how much we want the best for one another. We’re actively dismantling the stereotype of fashion being cold and competitive. The creativity, collaborations, mutual support – it’s all been incredibly inspiring. I’d encourage any aspiring designer to dive in.
What inspires your work? Travel is my biggest source of inspiration. Anything that disrupts my routine or removes me from familiar environments tends to fuel new ideas, so I try to take at least one big trip a year for that reason. When it comes to keeping my work fresh, I’m deeply driven by textile manipulation. With every new collection, I challenge myself; whether it’s exploring new materials, techniques, or silhouettes. That constant experimentation keeps things exciting.
Who is your favourite international designer right now? Some brands I really admire at the moment are Professor E, AjobyAjo and Doublet.
What accounts inspire you creatively? @cheaphousesjapan on Instagram offers a look into countryside homes in Japan that are full of character.
Can you describe your perfect day? A perfect day in Dublin starts with a slow morning in bed with my cat. I’d then head to Stay With Us in Phibsborough for an iced matcha and stop by Elliot’s for a pastry. After that, I’d wander around the Le Zeitgeist flea market, then make my way to the Botanic Gardens with a picnic blanket. I like to do some grounding exercises barefoot on the grass near the pond with the ducks. In the evening, I’d grab a bite on Capel Street and end the day with a film at the Lighthouse Cinema with my partner.
Where do you see Irish fashion going in the future? Irish fashion is on the cusp of something major – you can feel the ground shifting. What we really need now is recognition. Fashion is still not classified under the Department of Arts, which blocks us from key funding and support. Personally, I’ve even been rejected from artist studios because what I do is seen as “commercial work.” We are artists, so we deserve to be recognised as such.
What’s next for you? I’m implementing new knitting machinery into my studio, shifting from hand-operated to automated systems. This is a big step, allowing me to push my craft further, creating more intricate, complex textiles and increasing production capacity. I’m also hoping to build relationships with local stockists, so this next phase is all about scaling while staying true to the craft.
Photography: Kate Gaidash, Amber O’Shea, Kety Duran and Aoife Louise.
