Meet Caólum McCabe, a fashion design graduate from Arts University Bournemouth. Caólum’s final collection is inspired by the women of his home country in Ireland, and the myths and stories that surrounded them through Irish lore. It also pays tribute to the women in his own family, exploring aspects of their lives and weaving these into the wider story of “Mother Ireland”.
“The core aim of my collection is to encourage women to reclaim ownership; of themselves, they’re lifestyles and of their consumption,” says Caólum. “This enables viewers to form their own personal and unique response with the collections narrative, forcing a very close connection between the wearer and the garment which I feel is a piece of magic in fashion that should remain, the quality of tangibility.” Read on to learn more!
What is the most valuable thing you have learnt at university?
Probably one of the most valuable lessons I’ve learnt at university is being able to come into my own independence. Not just in the transition from college to university but with regards to general life and being able to manage that alongside an intense work load. Having the support of my tutors throughout, learning from them and their industry experiences has served me well. Developing my own style and understanding how and why that is unique to me. I don’t believe this would have been possible if it hadn’t been for the structured course layout which challenged my understanding of cloths, colour and technical skills at a steady pace.
I can now confidently approach the design and development process, aware of my strengths and weaknesses. Im so glad that I stuck with the Lectra Modaris digital pattern cutting software from the very beginning, though I struggled at first. It has become an integral part of my design and development process, particularly for my drape work. Going forward I believe this will be an asset to design teams in industry even more so given the current state of the climate. Even within this pandemic, adaptation, remaining positive and working from home with limited resources have been invaluable lessons to me and has shown me how unpredictable life can be, and if theres a will theres way no matter what is thrown at you.
What was the starting point of inspiration for your final project?
My initial starting point began in Charles Fort in Kinsale, an army barracks for-telling a tragic tale of love and loss. In the 17th century a bride was suppose to have thrown herself from the parapets into the cold waters. The legend of The White Lady informed me to research how women were represented throughout Irish history. My collection “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 my grandmothers 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 water flood Moors. 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.
What form does your final project take?
The project takes the form of garments, specifically a 6 piece outfit womenswear collection. “Mother Ireland” comprises of inter-changeable feminine silhouettes dressed in dated florals, stringy ruffles and upcycled family table laces. Coupled with masculine layering in both raw and boiled wool and textured knits. Crossing paths between these two images has allowed me to create timeless staples for the modern woman. 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 my grandmothers 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, a thank-you for all their invaluable life lessons, love and support. Before lockdown I had intended to create an immersive exhibition space promoting a new vision of sustainable fashion; this idea of accessibility over ownership. The core aim of my collection is to encourage women to reclaim ownership; of themselves, they’re lifestyles and of their consumption. This enables viewers to form their own personal and unique response with the collections narrative, forcing a very close connection between the wearer and the garment which I feel is a piece of magic in fashion that should remain, the quality of tangibility.
How has it evolved from your initial ideas and what have you learnt along the way?
A lot of my initial ideas and early design work was based around key 17th century references influenced by my research down in Charles Fort. The Garrison held a wealth of knowledge both in history, fashion and celtic legends. However, as I began to envision my collection I very quickly became lost with the multitude of directions I could take it in and this proved to be very difficult when collating ideas together to create a cohesive collection. I had an endless amount of drape work, smocking prototypes and ruffle experimentations which initially seemed so unrelated to each other. By frequently revisiting these ideas, I began to draw connections and eventually they became the running theme throughout my collection and informed each garment thereafter. The whole process of design became more fluid to me.
Throughout my final year I have learnt that in order to develop a well considered collection, you require a lot of preparation and experimentation, and that there is in fact no end to the work. You are very much working up to the last minute because something can always be bettered, and that can be problematic for you as a designer because naturally we’re always striving to be the best that we can be. Realising this, and being able to take a step back at some point for your own peace of mind is essential. Going forward with my career, the one piece of advice I will certainly take away from all of this is to not become too attached to ideas. Often the visual you have in your head isn’t necessarily how it will always turn out. I think the more you plan for a garment, when they are brought to life they can be underwhelming. I think the trick with design is that you should free fall into the whole process and everything else becomes far more natural and efficient.
What are the messages and themes behind your project that you want people to take away? Do explore any topics like diversity, sustainability or politics in your work?
My collection, particularly my research project, outlines how woman was to be seen and not heard. In the years preceding independence, during the Elizabethan reconquest of Ireland, the only way Ireland could defend itself as a nation was to personify its women through myths and legends, namely as land. Often lamenting her rape, the land was seen as an object to be repossessed by man, constructing gender norms. Each garment is a feminist celebration of the strength of Irish women, specifically through my mothers. Their bold spirit is embodied throughout each piece, such as in the insipid green hues of my grandmothers dress which have influenced natural dye processes. The collection is an ode to them.
Creative draping with double swooping layers in both wool and knit, add layers, championing my grandmothers hand me down skill, mirroring the highland dress depicted by Robert Ronald were Mclan women appear to be trekking through Moors. 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. I think now more than ever before craftsmanship is at risk of dyeing out as industry professionals both thrive and panic within this urgent transition, beginning a new in the digital age.
I think it’s important to understand that whilst sustainability and functionality will be the two new driving forces within the industry, sustainability is not just aligned to garment manufacture, it’s also abut how we as individuals choose to consume. I believe if you save hard for something that is made of love and quality, can be held onto for years, much like a family heirloom. I have applied this principle to my collection pieces, so that they too will survive several life times. The primary message of my collection is the preservation of hand craftsmanship.
What’s an aspect of the fashion industry that you’re passionate about fixing or having a positive impact on?
I feel that the shift taking place in fashion right now will help to market small upcoming or existing sustainable designers/brands by promoting their image and ethical model structures. I really want to seize this opportunity for engagement through my social media account while many brands, especially luxury houses retool and adapt their social medias and business models. With the restrictions of lockdown, young designers essentially have the attention of the world through Instagram, how amazing is that? Going forward with my career I aim to develop a small brand with a business model fit for purpose and one that addresses issues concerning accessibility, sustainability and ethics which I feel are three very problematic issues at current.
Though I have a very long road to walk, I am preparing a considered business model. One way I hope to address these issues is by encouraging investment in quality made affordable staples. Providing “make do and mend” dust bag kits with every purchase denotes durability and garment care which I feel is something consumers should be really looking into while the industry begins its very necessary transition, clearing out our wardrobes and adapting it to a more green lifestyle. Renting out my garments for larger venues defeats the accessible image of celebrity endorsement. I intend for all items sold to be limited edition, and archived and thus will not be repeated once they are sold out. These are just a few of the measures I am aiming to take in my ventures going forward. Please check out my manifesto on my website for more information https://caolum5.wixsite.com/caolummccabe
What is your plan once you finish your BA?
I’m a little lost about what path to follow after my BA. Before lockdown commenced and GFW was still on the horizon my plans were to follow through with job applications in London along with five other creative individuals. However, given the circumstances of Covid-19 I’m not sure how realistic this is for me as the economy falls into recession and the industry begins to recover and make its very necessary transition.
I’ve had long conversations with my parents and though I never imagined starting my business right after I graduated within this current climate, it almost seems like the perfect time for sustainable and ethical small brands to make their own way in the fashion world as we now have the attention and eyes of the world through social media and online platforms. It’s a pretty great time in my eyes to promote yourself and begin engaging with people, I almost don’t want to pass this down as an opportunity to get my work out there. Though the adaptation has been difficult, working from home with limited resources, it’s showing me a whole other host of capabilities and opportunities and I’m very excited for the next chapter.