The Irish fashion industry has felt the pain of the downturn and cannot support the hundreds of students who are currently in fashion college, according to top designer Peter O’Brien.
O’Brien, who last week launched a new limited edition collection with Arnotts, also said his own dreams of opening up a studio were scuppered when he saw the state of the industry.
‘‘The work has tightened, especially in Ireland. It’s become increasingly evident over the last 18 months. There is not enough work to provide jobs for the amount of students in fashion college here," said O’Brien.
‘‘I dreamed of setting up a workshop from which to sell my clothing, but in Ireland it’s just not possible.
There’s no state aid, training or crafts, no factories, no route to business – it’s sad, because 30 or 40 years ago, we had a thriving garment industry.
There are still very talented people today but no support.
‘‘Now, it’s easier for me to be a designer-for-hire. So if a Japanese company phones me up requesting a line, I can provide that painlessly. I can’t produce clothes indigenously, as we don’t have the expertise.
Obviously, outsourcing manufacturing overseas adds a huge cost. I feel it’s too risky to establish a company – there are some of my braver contemporaries who do it, but I prefer not to."
He also said that, in a recession, people bought investment pieces and usually chose an established luxury label. ‘‘In my opinion, independent designers can no longer afford to be grand. If people want to do business, you do it," he said.
As the industry continues to tighten, O’Brien said he was diversifying into different areas.
‘‘I’m working with Tipperary Crystal at the moment, with the aim of producing a collaboration line, and I’ve also signed a deal with Stoney Road Press to publish 150 copies of a book containing my sketches. I love drawing; in fact I’ve recently returned to the RHA for more lessons," he said.
The designer has previously worked in such top fashion houses as Dior, Givenchy, Chloe' and Karl Lagerfeld, and the House of Rochas.
He returned to Ireland in 2004 and signed a three-year collaboration deal with A-wear in 2006.
His latest collaboration with Arnotts is limited, as the designer said it was ‘‘a test run for all of us. It’s a big investment for a company to make," he said.
He said that he could make a living from this work, but that a collaboration with a large British chain like Debenhams was the only way to ‘‘make the big bucks’’.
‘‘However, I’m not in this for the money – it’s good PR for the brand – and of course I’m hoping that it will develop into something ongoing and long-term," said O’Brien.
‘‘My first job was as a window dresser for Arnotts. From there I moved to London, lied and said I had my Leaving Cert, studied at Central St Martins and eventually ended up in Paris."
However, despite the challenges of the fashion business, O’Brien said he would hopefully be working in design past retirement age. ‘‘There’s a negative perception that fashion designers age in dog years, but I know that what I do now is better than what I did when I was 30," he said.
O’Brien, who last week launched a new limited edition collection with Arnotts, also said his own dreams of opening up a studio were scuppered when he saw the state of the industry.
‘‘The work has tightened, especially in Ireland. It’s become increasingly evident over the last 18 months. There is not enough work to provide jobs for the amount of students in fashion college here," said O’Brien.
‘‘I dreamed of setting up a workshop from which to sell my clothing, but in Ireland it’s just not possible.
There’s no state aid, training or crafts, no factories, no route to business – it’s sad, because 30 or 40 years ago, we had a thriving garment industry.
There are still very talented people today but no support.
‘‘Now, it’s easier for me to be a designer-for-hire. So if a Japanese company phones me up requesting a line, I can provide that painlessly. I can’t produce clothes indigenously, as we don’t have the expertise.
Obviously, outsourcing manufacturing overseas adds a huge cost. I feel it’s too risky to establish a company – there are some of my braver contemporaries who do it, but I prefer not to."
He also said that, in a recession, people bought investment pieces and usually chose an established luxury label. ‘‘In my opinion, independent designers can no longer afford to be grand. If people want to do business, you do it," he said.
As the industry continues to tighten, O’Brien said he was diversifying into different areas.
‘‘I’m working with Tipperary Crystal at the moment, with the aim of producing a collaboration line, and I’ve also signed a deal with Stoney Road Press to publish 150 copies of a book containing my sketches. I love drawing; in fact I’ve recently returned to the RHA for more lessons," he said.
The designer has previously worked in such top fashion houses as Dior, Givenchy, Chloe' and Karl Lagerfeld, and the House of Rochas.
He returned to Ireland in 2004 and signed a three-year collaboration deal with A-wear in 2006.
His latest collaboration with Arnotts is limited, as the designer said it was ‘‘a test run for all of us. It’s a big investment for a company to make," he said.
He said that he could make a living from this work, but that a collaboration with a large British chain like Debenhams was the only way to ‘‘make the big bucks’’.
‘‘However, I’m not in this for the money – it’s good PR for the brand – and of course I’m hoping that it will develop into something ongoing and long-term," said O’Brien.
‘‘My first job was as a window dresser for Arnotts. From there I moved to London, lied and said I had my Leaving Cert, studied at Central St Martins and eventually ended up in Paris."
However, despite the challenges of the fashion business, O’Brien said he would hopefully be working in design past retirement age. ‘‘There’s a negative perception that fashion designers age in dog years, but I know that what I do now is better than what I did when I was 30," he said.
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