You know the Irish names that have already conquered the global stage, now it’s time to look ahead. Stylist Anne O’Shea takes us through the Irish designers to watch, spotlighting a new generation redefining contemporary fashion.
You’ve heard of Simone Rocha, Róisín Pierce, Sean McGirr, and Jonathan Anderson, Irish talents who have made their mark on the global fashion stage. But what about the designers shaping the future of Irish fashion?
Meet Róisín Heffernan, Hollie Marie Gallagher, Alacoque Daly, Katerina Healy, Niamh McGovern, Sophie Brunkard, Mia Walsh, Lydia Eakin and Elspeth Moloney, a generation redefining what it means to be an Irish designer today. While most of these designers were part of the Ireland Fashion Week Graduate Show, Elspeth Moloney, though not a graduate participant, represents the same innovative approach that defines this new wave of talent.
I discovered these creatives while co-curating the Graduate Show with Laoise O’Connell and Jess Colivet, one of the most joyful and inspiring projects of my career. Even running on empty, I couldn’t resist an editorial to further celebrate their impressive work. During casting for IFW, I met Marta, just as she was serendipitously moving to Dublin.
As if Paulo Coelho’s words in The Alchemist had come to life, “When you want something, all the universe conspires in helping you to achieve it,” she perfectly captured the energy of this new generation of designers. These graduates aren’t just following in the footsteps of giants; they are forging a path of their own, with integrity at the core of their practice, from sustainability, thoughtful sourcing, and cultural awareness to design that honours tradition, craft and community.
Let’s take a closer look at the next Irish wave.
SoRoe Design by Róisín Heffernan
Considered, wearable and fabric-driven, Róisín Heffernan and her brand SoRoe have earned a prestigious spot on The Irish Independent’s “Thirty Under 30” list. Her professional prowess is evidence of both her skill and her deep understanding of the industry.
With a rigorous technical foundation from the Limerick School of Art and Design (LSAD) and high-level studio experience in London, Róisín has honed a design language that prioritises quality and authenticity.
“What sets my work apart is that I design what I genuinely love rather than what I think others will like,” she notes, emphasising a commitment to artistic integrity. Entirely self-funded to date, SoRoe is built on the pillars of sustainability and individuality. By focusing on the intrinsic beauty of her materials and a “design-first” philosophy, Róisín creates timeless pieces that resonate with the modern, conscious consumer while remaining unapologetically true to her own vision.
Mila top, €230, available from soroedesign.ie.
Dare to Howl by Hollie Marie Gallagher
Based in the rugged landscape of Donegal, Dare to Howl is an avant-garde label that merges heritage with rebellion. Founded by designer and ATU Donegal graduate, Hollie Marie Gallagher, the brand was born from a desire to “bespoke the mind”, drawing inspiration from Allen Ginsberg’s iconic poem and the rich textile history of the designer’s home county.
Rooted in circularity and slow fashion, Hollie’s process involves “thinking beyond the obvious”, juxtaposing authentic Donegal tweed, a nod to her great aunt and the weavers of Magee 1866, with iridescent deadstock taffeta.
This blending of futurism and tradition creates “wearable art” that challenges the status quo. Following a transformative summer at Dublin Independent Fashion Week and Ireland Fashion Week, Hollie is now focused on elevating Dare to Howl through sustainable innovation and community-driven collaboration.
With a mission to celebrate individuality and gender-fluid expression, Dare to Howl is a defiant call for change; bold, rebellious, and disruptive. The brand recently celebrated the launch of its website, marking a brand evolution that cements its mantra: “Bespoke the mind, wear the howl, dare to howl.” It won’t be long until disruptors such as Siobhán McSweeney, Zendaya, Nicola Coughlan, or Lady Gaga are answering that call.
Black taffeta skirt, €1,500, black panelled spherical jacket with front zip, €1,350, available to buy from daretohowl.com and black taffeta braided hood available to rent from daretohowl.com (€200 p/day, three-day minimum plus a €350 deposit).
ALACOQUE by Alacoque Daly
From the moment I met Alacoque Daly, she resisted calling herself a fashion designer; instead, she described her practice as one rooted in craft, sculpture, and slow, hands-on making. Educated at the Grafton Academy of Fashion Design, Daly works instinctively, creating one-of-a-kind, sculptural garments that exist at the intersection of sculpture, sustainability and storytelling.
She approaches each piece as a sculpture first, allowing the body to become a vessel rather than a starting point, and uses volume, distortion, and concealment to explore ideas of strength, identity, femininity and protection. Sustainability is not a trend in her work but its foundation, with a strong focus on reclaimed materials such as boat sails and domestic textiles valued for their history and lived experience.
Deeply image-led and influenced by movement, her work is designed to feel alive and responsive to both space and wearer. Rejecting fixed ideals of beauty, ALACOQUE designs for no single body or identity, instead inviting individuality to complete each piece. Her breadth of material knowledge and intuitive handling of form make it hard not to be excited by where her practice might lead; I can’t wait to see what she builds over the next five years, whether that remains within fashion or expands into jewellery, furniture, or sculptural art. Daly dreams of one day creating a bespoke piece for her cousin, actor Jessie Buckley. She aims to design for people who are real, fearless, and unapologetically themselves.
The Flying Saucer is part of the 2nd Graduate Collection by ALACOQUE. POR, one-off custom commissions available upon request, contact alacoqued@gmail.com.
Katerina Healy by Katerina Healy
Katerina Healy’s relationship with fashion is rooted in family and memory. Her earliest influence was her mother, Miriam Mone, a designer who dressed women with authority and elegance, most notably Mary McAleese on her inauguration day. After her mother’s death when Katerina was a young girl, that legacy was kept alive at home; playing with her mother’s fabrics and making clothes for dolls became an early, instinctive education. Moving towards a career in fashion felt more like a continuation than a conscious decision. Power and prettiness now form the starting point of Katerina’s work, informed by how her mother used dress to confer confidence.
As a final-year student, Katerina speaks with a clear awareness of the moment she is entering. She is heavily motivated by the fact that it is, quite simply, cool to wear Irish design right now, a shift that has given emerging designers both confidence and visibility. I admire her sense of ownership and responsibility in wanting not only to benefit from this momentum but to actively contribute to it, building on the groundwork laid by predecessors such as Sinéad O’Dwyer, Simone Rocha, and Jonathan Anderson, who continue to fly the Irish flag on the global stage.
This feels like a generous yet demanding moment for Irish designers, one that asks for ambition, rigour, and care. “With principles of heritage craft and storytelling at the core of most luxury fashion houses, I believe that Ireland has so much to offer the fashion industry,” Katerina reflects. She will present her final-year collection at NCAD Works in June 2026.
Skirt, POR from Katerina Healy and tights, stylist’s own.
NMCG by Niamh McGovern
Growing up, Niamh McGovern was inspired by her mother’s love for sewing. While her mother worked in IT management, she made dresses for family occasions and altered clothing, sparking Niamh’s early interest in design as she experimented with fabrics on her mother’s mannequin. Her first professional experience was interning with Irish designer Sinéad O’Dwyer at London Fashion Week, where Niamh admired the inclusive approach of designing garments first and tailoring them to models of all sizes, a philosophy she aims to carry into her own work.
She draws creative inspiration from personal experiences, old photographs, and art, with collections such as ‘Vodka from the Holy Grail’ and ‘Mother May I Cry Again’ reflecting intimate stories and cultural imagery. Niamh prioritises sustainability, size inclusivity, thoughtful client relationships, and careful fabric selection, influenced by mentors including O’Dwyer, Ancuta Sarca, Rebecca Tembo, and Richard Quinn.
Despite challenges balancing time, production, and finances, NMCG is committed to growing its brand and contributing to Irish fashion. I am inspired by her deep understanding of the fashion business and its expectations on designers, combining strategic awareness with creative vision. Looking ahead, McGovern has her sights set on dressing Saoirse Ronan, CMAT, and Nicola Coughlan, while also hoping to work with Andrew Scott, as she would love to explore menswear tailoring.
Look from the Graduate Collection titled ‘The Holy Grail’, POR from NMCG.
Sophie Brunkard by Sophie Brunkard
Sophie Brunkard is a fashion designer whose work transforms her passion for art and expressive movement into innovative, wearable pieces. Inspired by childhood memories, oversized silhouettes and traditional Irish knitwear, she creates garments that prioritise comfort while allowing the wearer to personalise and reconfigure each piece, a quality that makes her designs playful, versatile, and deeply engaging.
Brunkard reinvents knitwear, once seen as old-fashioned, through experimental techniques, visual storytelling, and fabric manipulation, resulting in contemporary pieces that feel fresh and transformative. I was immediately drawn to her graduate collection piece, Blossom, an exaggerated, multi-wear jumper that reflects the constraints of social media and demonstrates her inventive approach.
Grounded in inclusivity, sustainability and comfort, Sophie uses zero-waste construction, offcuts and deadstock fabrics. She debuted at the Irish Sea Show for the inaugural Irish Fashion Week, showcased at the LASTA Sustainable Fashion Show, and, recently, Irish artist Tolu Makay wore one of her sculpture dresses, highlighting her growing influence.
Blossom’ jumper, POR. Made-to-order pieces available by request through Sophie Brankard.
Mia Walsh Studios by Mia Walsh
Initially, fashion was Walsh’s tool for exploring identity in a small town where conformity reigned, grey landscapes loomed, and dilapidated buildings sparked the creation of Mia Walsh Studios. From this environment emerged oversized punk tees, leather jackets and bold eyeliner: clothing that acted as both resistance and belonging.
The town’s isolation fueled her fascination with dystopian, punk aesthetics, music, and film, which naturally evolved into a design practice focused on how garments communicate individuality. Educational spaces that encouraged experimentation, alongside DIY and alternative music scenes, shaped her resourcefulness and ethos. Designing for live performers taught Walsh to balance narrative-driven, avant-garde aesthetics with comfort and functionality.
Her creative process begins with world-building, research and emotional reflection, producing genderless, modular and sustainable collections that prioritise longevity and inclusivity. Despite Ireland’s limited infrastructure and funding for independent designers, Walsh remains committed to integrity, resisting fast-fashion pressures while cultivating a thoughtful, impactful practice. She speaks candidly about the realities of independent design, asserting that “supporting young designers shouldn’t just mean applauding the outcome; it should mean sustaining the conditions that allow the work to exist in the first place.” Walsh emerges not only as a leader in design and branding but also as an advocate for process-driven, thoughtful fashion.
Deadstock ripstop modular skirt with crochet detailing by Mia Walsh Studios, gloves by Paula Rowan, shoes by Nina Divito, stylist’s own.
Lydia Eakin by Lydia Eakin
Lydia Eakin discovered her passion for fashion during her foundation year at Belfast School of Art, where she realised her ability to visualise the potential of spaces, fabrics and garments before bringing them to life. Knitwear quickly became her natural medium, allowing her to shape both fabric and garment simultaneously, while her creativity remains deeply intertwined with the natural world.
A formative internship on one of Ireland’s remotest islands at Inis Meáin Knitting Company expanded her creative outlook and reinforced her appreciation for traditional craft. Committed to sustainability, Eakin prioritises local materials and suppliers, including Donegal Yarns and Ulster Wool, and has developed her own super-sized yarns to create bold, distinctive shapes.
Having most recently presented a look at Ireland Fashion Week as part of the Graduate Irish Sea Show, she gained invaluable insight into building a brand and the confidence to pursue ambitious opportunities. She now heads to Australia on a working holiday, hoping that new landscapes, cultures, and experiences will inspire her next project and shape the next chapter of her practice.
Top by Lydia Eakin Graduate Collection, The Rock.
Elspeth by Elspeth Moloney
Elspeth Moloney’s path into fashion was shaped early on by a deeply creative upbringing. Raised in a household where textiles, quality and design were part of daily life, her mother runs the interior design studio LW Collection. Moloney developed a tactile sensitivity to fabric from an early age, alongside a precocious personal style that earned her the nickname “fashion police.”
Her Irish heritage quietly yet meaningfully informs her work, particularly in her use of crochet, knitting and hand embroidery to explore themes of family and connection, drawing on traditional techniques while reimagining them in a contemporary context. Pivotal experiences include a formative internship with Helen Cody during her studies at NCAD, where she learned the value of slow, personal processes and gained confidence in her own ideas. Further roles with Sarah Arnett in Brighton and later Bethan Laura Wood in London expanded her technical, digital, and creative outlook.
Together, these influences have shaped a practice grounded in craftsmanship and thoughtful design, most recently evident in her graduate collection, Unspoken, which I wore to what would become Paul Costelloe’s final London Fashion Week show.
From Elspeth Moloney’s graduate collection, ‘Unspoken’, POR shoes by Nina Divito and tights by FALKE, stylist’s own.
Photography by Niamh Dunne. Styled and produced by Anne O’Shea. Modelled by Marta Del at Morgan the Agency. Hair by Sarah Nugent. Make-up by Maggie O’Shea. Photographed in The Sp8ce Studios. Set design by Mick Dunne. Assisted by Hollie Marie Gallagher, Yara Abdelsalam, and Ellen Reidy.
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