Caólum is a fashion design graduate from Arts University Bournemouth with a focus on storytelling. His contemporary brand is driven by modern femininity and his Irish heritage — everything he makes is handcrafted and made with sustainable practices. We chat to him in detail about his time at University, the concept behind his final collection ‘Mother Ireland’ and what the future (no matter how uncertain) holds for him and his career.
Hi Caólum! First of all congratulations on the nomination, you must be so proud. How did you feel when they announced that you were one of the Digital Fashion Portfolio Award nominees?
I was so overwhelmed! Like many other designers I had spent my final year dreaming up my collection and it walking the Graduate Fashion Week catwalk. When the world suddenly stopped and we were isolated to our home living spaces it was such a difficult time adapting and remaining motivated knowing that everything that I was working towards was cancelled.
All of my years garments were under lock and key in university, so there wasn’t much we could work on from home other than sketchbook and portfolio. It was quite disheartening to see students from other universities finish their collections from home, but it was in my universities best interests that everyone in my year be treated equally and fairly.
Being recognised for my endeavours and passion certainly lifted me, and being able to speak with industry professionals like Henry Holland who was one of the three panel judges was surreal. When someone in high regard commends you for your work, and takes notice of what you have been trying so hard to encapsulate…there really is no better feeling.
It must have been difficult figuring out how to portray your work digitally, whilst working from home. How did you go about presenting it?
I struggle with this a lot, and I frequently edited my digital portfolio throughout the year. I love the tangibility and physicality of a portfolio, the weight of paper, the deranged scribbles that are brought to life, it adds so much depth of character and defines your handwriting and style which can often be lost in digital work especially digital portfolios. Layering was a key attribute of my digital portfolio, particularly using stand out elements from my physical portfolio such as pressed hydrangeas and tea stains which helped to sustain that tactile feeling. I worked very closely with the very fabulous Esther Yarnold and Veronica Hendry to edit and refine my work. Dream team.
Do you think being nominated for a GFW award will kickstart the beginning of your career in the industry?
I’m not too sure, if I’m being honest I don’t think having any amount of awards under your belt changes things. I think fashion is still very much about being in the right place at the right time with the right people. It is very much who you know. I’ve been very fortunate to meet some amazing people throughout my studies and most recently in my final year like Charles Jeffrey.
Hopefully my name and work will leave some lasting impression so that when normality resumes I can pick up where I left off.
Are there any particular skills you’ve learnt along the way to help you stand out from the crowd?
With regards to applying for jobs, having a relevant skillset is, of course essential, I would like to think that I’m at an advantage. Throughout my studies, I engaged with the Lectra Modaris software for digital pattern cutting, and recently CLO 3D Simulation which essentially eliminates all physical prototyping. It’s a convenient and efficient way of working, and given the current state of the climate, you can already see how brands and houses are moving forward with these softwares!
These are two very relevant and necessary skill sets now under my belt. I graduated from the Arts University in Bournemouth, and I have to commend my lecturers and tutors, they are always forward-thinking and anticipating.
How do you feel about fashion at the moment, are there any brands or designers that are inspiring you?
If I’m being honest, no. I tend to avoid looking at other designers work! Yes, of course, I appreciate the fashion but nothing has actually struck me in a very long while, I feel like fashion has somewhat lost its magic and certainly now more than ever as the industry begins anew in the digital age. I feel like the industry needs to adapt and recover from the pandemic and new ideas and talent will begin to emerge from all of this, that’s what I’m most excited for!
Patrick Mcdowells recent digital collection “Catholic fairytales” really wowed me, the staging of the digital catwalk which took on the theme of a run down chapel defiled by queers using graffiti. It really struck a chord with me, mostly because I’m gay and raised Catholic myself, the whole sense of reclaiming power as a gay man and a designer was very impactful and modern.
Could you tell us about the concept for your final collection “Mother Ireland”?
Mother Ireland was a recurring thought in the back of my head actually over the course of my 3 years studying at the Arts University in Bournemouth. Throughout my studies, I tried to figure myself out, both as a person and a designer. Mother’s was the only personality that I felt, that interpreted my being. Their love encompassed me like the air that I breathed, both a cushion and a shield. It was uncontrolled and instinctive, overflowing all bounds of reserve and expressing itself by hugs and kisses and too many pots of tea. I owe my life to my mother, my grandmother, my godmother. The collection was a thank you to three special women in my life.
“Mother Ireland” casts a glance over Irish history when England took over Ireland during the Elizabethan reconquest. Ireland lost all sense of culture, language and identity. The only way Ireland could defend itself as a nation in the latter years preceding independence was to personify its women through myths and legends. Woman was to be seen not heard.
Often lamenting her rape, the land was seen as an object to be repossessed by man, constructing gender norms. Each garment is a celebration of the strength of Irish women, namely my mothers. Their spirit is embodied throughout, such as in the insipid green hues of his grandmother’s dress which have influenced natural dye processes, or the love letters my mother wrote as a child which have become a print and have been reversed so that they read from me to her. The collection is an ode to them.
Initial silhouettes have developed from drape work using preloved linen table laces, fabrication representing the heart of the Irish home. Creative draping with double swooping layers in both wool and knit, add layers, mirroring the highland dress depicted by Robert Ronald were Mclan women appear to be trekking through waterflood Moores. These layers are accented with a colour palette deriving from a family photo of my grandparents outside their home in 1951. The saturated yellow and green tones and traditional hand sewing skills evoke a sense of past time, when clothing was touched by hand and cherished.
Such a beautiful concept. What was the biggest challenge you faced whilst creating this collection?
Oh goodness, everything was a challenge, especially trying to find cohesion within my collection. My entire first term was spent sampling and toiling. Nothing seemed to be coming together, primarily because I had so many ideas I couldn’t settle on one and everything seemed so disconnected. I placed so much pressure on myself because it was important to me that my collection not only do my mothers proud, but also that it had some distinctive feeling and quality about it
When did you know you wanted to be a designer?
I was always interested in art from such a young age. I spent early morning through to evenings as a child sat at the foot of my Granny Anna while she sewed up dresses in her shed. The classic animation of Sleeping Beauty would be on repeat on the tv in the background, and I would draw dress after dress.
Fashion wasn’t something that I knew much of until I was taken under the wing of Siobhan O’Hare who opened up my world to art and creativity around the time of my GCSE’s. I spent my weekdays in her home, surrounded by mountains and fields and relished in her artworks, history books. It was an escape for me. I originally was applying for make-up and hair for the film industry, mostly because I had people telling me that there was no point in me doing fashion unless I was going to make it. Deep down I knew it was what I wanted to do.
How do you tend to work with textiles and fabrics?
During my design and development process, I try to allow my fabric research inform part of the garment as my initial ideas around silhouette take shape.
An Irish mammy is often found to be in the kitchen, the centre and heart of the Irish home. It’s where important conversations are relayed, decisions made, problems discussed over tea. There isn’t anything that a pot of tea can’t solve in my house. Using this as a reference I up-cycled a collection of cotton table laces my Granny Anna had stowed away in her attic. One of her table cloths was integrated into the wool slacks for look 2, which features as an intricate panel of lace down one leg and on the hems. It wasn’t until I had made the final trousers that I decided to integrate the lace. Anything can happen even when the garment has been finally manufactured. As my label begins to take shape here in Ireland, up-cycling Aran wool, table laces both in cotton and linen are becoming signature traits of my work.
Any words of wisdom you took away from your time at university?
I think the most important thing that I will take away is that you should never forward think your designs. One simple idea or feeling is enough, and you should free fall into the whole design and development process. I have found that when you plan a garment too much, it often turns out to be very underwhelming. The best garments are birthed from spontaneity and lack of sleep though I do not recommend the latter!
Any guidance for students beginning their degree this year?
I think the best piece of advice I can give is; don’t assume in your first year that your work isn’t as important as your final year. Treat every project as if it was your one shot to prove yourself. Explore everything, even if it scares you. I avoided using Lectra (CAD Software) throughout my first year because it seemed so daunting, two years later I would be lost without it.
Passion goes a long way and you can really feel that in a piece of clothing if you channel into your work. Also, don’t forget to eat and sleep, I’m renowned for doing neither of those things but I’m working on it, haha!
Finally we want to know, now that you’ve graduated, what are your short-term plans? Has Covid-19 affected these?
I was supposed to be moving up to London with five other designers this month but because of the pandemic that has changed everything. It was too much of a risk moving to London with little to nothing in savings and the likelihood of a second wave hitting. I could be out a job and tied to a house contract. So I’m back home in Ireland for the year, or at least until the new year.
I’m currently setting up a studio space and will be extending my six-piece collection (which has yet to be finished because of Covid-19) to a ten-piece collection and will be debuting it here in Ireland on location (date and location TBC). So despite everything, this period of angst and stillness has allowed me to invest in myself and my brand. I have a lot of hard work ahead of me, but I’m so excited to share it all and see where I end up.
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If you’d like to follow Caólum’s creative journey, you can find him over on Instagram.
