By Emy Moore

Backstage with The Sixth Language at The Irish Edit.
*Image Credit: Guilherme Resende & Edgar Camargo* *@guilhermertds*

Ireland Fashion Week called, Emy Moore answered - and took Hood with her. From emerging designers to statement jewellery and fresh ideas, discover what caught our eye at Ireland Fashion Week 2026.

This year, Ireland Fashion Week was built around the theme of Coming Home. Before October, I’d never even set foot in Ireland. But somewhere between the first show and the last, the idea of coming home stopped feeling like a slogan and started to make sense. Home isn’t only a place. It’s a feeling - and Ireland has a way of making you feel it, whether you were born there or not.

That feeling ran through the collections, too: tweed woven from Irish lambswool, prints inspired by the places designers grew up, and jewellery made with the next generation in mind. Every piece had a story, and every designer seemed to have a reason for telling it. From the Irish Roots show to the DAMHSA graduate showcase and the Irish Edit Showroom, the week brought established names and fresh talent into the same conversation. By the end, I’d happily have traded my entire suitcase for one perfect Irish-made coat. These are the designers I’m still thinking about.

IRISH ROOTS

Opened by supermodel Coco Rocha and closed by Alana Hadid, the Irish Roots show at St Helen’s brought ten Irish designers together on one runway. Menswear and womenswear sat side by side, with heritage weaving, knitwear and sharp tailoring offering different takes on what Irish fashion looks like today. Set to an incredible live soundtrack by David Keenen, drawing inspiration from the work of W.B. Yeats, the show felt less like a look back at history and more like a reminder that tradition can be a starting point, not a limitation.

MARY O’SULLIVAN DESIGN

Mary O’Sullivan’s collection feels like a love letter to her Irish heritage. When we spoke, she told me that, as a solo entrepreneur, her biggest motivation is her daughter, Lily. That sense of legacy runs through her instantly recognisable prints. Reimagining the classic Toile de Jouy, Mary fills her fabrics with Irish landmarks, from King John’s Castle to Thomond Park and the streets of Limerick, bringing them to life across beautifully cinched silhouettes. It’s wearable storytelling - and a mother’s way of making sure the next generation knows where they come from.

Runway looks by Mary O’Sullivan at The Irish Edit.
*Image Credit: Ana Elizabeth Aguila* *@anaelizabethaguilaa*

TRIONA DESIGN

Few labels have a heritage quite like Triona. The family-run brand from Ardara, Co. Donegal, draws on five generations of weaving and returned to Irish Roots for the second year running with its new collection, Modern Heirloom.

Runway looks by Triona at The Irish Edit.
*Image Credit: Ana Elizabeth Aguila* *@anaelizabethaguilaa*

Inspired by the Donegal coastline, handwoven tweeds arrived in deep Atlantic blues, earthy greens and warm neutrals. Two standout pieces were the belted brown herringbone Sorcha coat and the oatmeal salt-and-pepper Oisín jacket. These are clothes made to be worn now and passed down later - a reminder that one of Irish fashion’s most traditional fabrics still has plenty to say.

CHARLOTTE & TESS

County Tyrone designer Sarah Jayne Lavery debuted the Heritage Collection, a capsule from her label Atelier by Charlotte & Tess. Rich, earthy tones met tactile Donegal tweed, linen and chunky Aran wool, bringing a fresh perspective to traditional Irish textiles.

The standout was the Étaoin dress: a structured, corseted bodice with contrasting velvet straps, falling into a full skirt in bold heritage check. Reversible plaid-and-velvet coats and signature bow blazers completed the collection, balancing romantic details with a distinctly modern silhouette.

THE IRISH EDIT

If the runway shows were about the spectacle, the Irish Edit Showroom was about getting closer to the people behind the clothes. New for 2026, it brought 29 Irish designers working across fashion, jewellery, millinery, bags and accessories into one space. Established names sat alongside newer labels, and the best part was being able to meet the designers themselves, hear the stories behind their work and get a closer look at the details. It felt less like browsing a showroom and more like being let in on what’s happening across Irish fashion right now.

THE SIXTH LANGUAGE

Founded by an Irish-Scottish duo, The Sixth Language is built around elevated unisex staples designed to be shared, borrowed and worn by anyone. What makes the label stand out is how personal it feels. The founders first bonded over music, and their shared playlist runs through the collection like a soundtrack, with little “Easter eggs” from their friendship tucked into the clothes. Every piece feels like an inside joke you’ve been let in on.

The clothes themselves are easy, considered and made to last, from oversized denim jackets built to be lived in to sharply tailored boleros, relaxed tees and the much-loved Apartment Pants. It’s a wardrobe that grows slowly, just as the brand intends, and feels like it’s always been yours.

CHUPI

Chupi Sweetman is one of Irish fashion’s biggest advocates, and as an advisory board member for Ireland Fashion Week, she’s helping champion the craftsmanship happening at home. The Chupi stand at the Irish Edit felt like a natural fit for a week built around Irish creativity.

Filled with engagement rings, wedding bands and delicate everyday pieces, it was hard not to stop and look closer. The jewellery is handcrafted in Ireland using recycled solid gold and carbon-neutral diamonds, with details that deserve a closer look. These are the kinds of pieces you buy once, wear every day and eventually pass down. Seeing them in person was a reminder that world-class jewellery can be found right here in Ireland.

SUNDAY FINEST

Sunday Finest is an independent Irish jewellery label creating pieces designed to be worn, stacked and lived in - a point it makes clear with its phrase “heirlooms to live in”.

The stand was a magpie’s dream: sculptural 14k gold statement rings, diamond eternity bands and playful pinkie rings with names like the Sweetheart and the Knockout. Fans include Blake Lively and Pippa O’Connor Ormond, and it’s easy to see the appeal.

Then came the engagement rings, and few things are more exciting than trying on a diamond or two. Right hand only, of course. Every piece is made to order, proving that despite the name, this is jewellery you won’t save just for Sundays.

SASHA DONNELLAN

With Dublin spread out below the rooftop of DÍON, Sasha Donnellan presented The Calling, a 20-look collection inspired by artists, martyrs and women throughout history who followed their convictions, whatever the cost.

Fluid silks and rich velvets gave the collection a romantic feel, with references to Renaissance art and Sasha’s love of bridalwear. The traditional Irish Claddagh heart appeared throughout, bringing love, loyalty and heritage into the details.

What I loved most was the contrast. Draped fabrics and romantic silhouettes met sharp, structured tailoring, giving the collection a femininity that felt assured rather than delicate.

MNÁ

Sunday evening belonged to Irish womenswear label MNÁ, which made its Ireland Fashion Week runway debut with TROY. Founded by Sarah Plunkett-Chadwick, co-founder of Queens of Archive, the label takes its name from the Irish word for “women”. Its first collection paired sharp tailoring with vintage-inspired velvet silhouettes for women ready to leave fast fashion behind.

The venue was The Stapleton pub, and the models certainly weren’t sticking to traditional runway rules. They moved through the room sipping pints of Guinness, taking shots and bringing a wonderfully rebellious energy to the show. It felt less like watching clothes pass by and more like being part of the night - with the craftsmanship firmly in focus.

AOIFE McNAMARA

Ireland Fashion Week’s final show took us out of Dublin and into the world of Aoife McNamara at The Manor, Mount Juliet Estate in Co. Kilkenny. Rather than simply presenting a collection, Aoife invited us into her world for the day - and it was worth the journey.

The Word of AMN is her most personal collection yet, and the first in the brand’s history to be made entirely from Irish wool, woven at John Hanly Woollen Mills. Check tweeds appeared in cropped blazers and long coats, alongside daring lace-up backs and textured arm-warmers.

Then there was the flat cap. Worn by model after model - and by plenty of guests, too - it quickly became the accessory of the day. As it moved from the catwalk into the crowd, it made the point better than any trend report could: heritage dressing works best when you actually want to wear it.

And, if I’m honest, I’m still thinking about the Aoife McNamara grey checked Irish wool long coat I promised myself I’d come back for.

A WEEK OF NEW DISCOVERIES

Before this week, I’d only ever looked at Irish fashion from the outside. I left with a much better sense of the people behind it: designers who are proud of where they come from, willing to experiment, and finding new ways to work with the materials and stories around them.

What struck me most was how differently that same heritage could be interpreted. Triona’s timeless tweeds and MNÁ’s rebellious velvet silhouettes might seem worlds apart, yet both draw on a sense of identity that runs through Irish fashion. There isn’t one way to tell that story, and that’s what makes it exciting.

As I packed my bags to leave Dublin, I was still thinking about the shows, the designers I’d met, the jewellery I’d tried on - and that grey checked Aoife McNamara coat I’m not quite ready to give up on. I arrived not knowing what to expect. I left with a list of labels to follow, pieces I’d love to own and a reason to come back.

Maybe that’s what Coming Home means. Not looking backwards, but knowing where you come from and having the confidence to take it somewhere new. And after this week, Irish fashion feels like something worth keeping an eye on.

Hood Takes Ireland Fashion Week