Irish designer Sinéad O’Dwyer grew up in a household of creative entrepreneurs. Her father was a silversmith and a sculptor, her mother was a music educator and her grandmother knit and sewed uniforms. Until the age of fourteen, there were no screens in her home, not even a TV. Instead, she...
Irish designer Sinéad O’Dwyer grew up in a household of creative entrepreneurs. Her father was a silversmith and a sculptor, her mother was a music educator and her grandmother knit and sewed uniforms. Until the age of fourteen, there were no screens in her home, not even a TV. Instead, she was encouraged to read, craft and spend time outdoors.
After studying in the Netherlands and a formative stint in the fashion industry, she developed a critical stance on the industry’s narrow body ideals.
“I saw quite a lot of models who were visibly ill. This glorification of vulnerability was really bizarre. It felt really insane to me that on the runway they look so pulled together, but then actually behind the scenes, there are so many emotional struggles happening,” she recalls. “When you are wearing a garment, you are actually wearing an imprint of another person's body. ... I don't think people really understand that the fit model for a brand is so important.”
This week on The BoF Podcast, Imran Amed sat down with Sinead to discuss her practice which centres on diverse bodies and finding practical, sustainable routes to market through direct to consumer, bespoke clients, and carefully chosen retail partners.
Key Insights:
- As a trainee, O’Dwyer saw the jarring gap between runway images and backstage reality: “I saw quite a lot of models who were visibly ill … this glorification of vulnerability was really bizarre,” she recalls. “It felt really insane to me that on the runway they look so pulled together … but then actually behind the scenes, there are so many emotional struggles happening.” At the RCA, with Zoë Broach’s ethos of fashion as critical practice, she reframed her work toward contribution and change, interrogating fashion’s harmful beauty ideals.
- O’Dwyer’s MA research used live silicone casts of friends and family to visualise that “when you are wearing a garment, you are actually wearing an imprint of another person’s body.” She critiques reliance on a single fit model and historic blocks, instead creating new blocks “through my own gaze as a woman,” choosing what she finds beautiful and then cutting for that, before generalising across a collection.
- According to O’Dwyer, luxury brands tend to produce many styles in smaller quantities with fewer sizes. O’Dwyer’s answer to this problem is a mixed‑model delivery: keep wholesale tight, invest margin in made‑to‑order “at the same price as the ready‑to‑wear,” and prioritise pop‑ups and try‑on moments. The aim is fewer but better retail partners and closer relationships. Crucially, the industry-wise fix requires intent: “People have to care. There has to be an investment in the whole industry. Initially you will lose a bit of money because you have to invest in that customer and say, ‘we actually want to cater for you, we respect you’.”
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