Institution
Limerick School of Art and Design (LSAD)
Medium
Fashion
Graduation Year
Class of 2025
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'Target Audience' This work is for lovers of memory-soaked garments—those who feel at home in vintage shops, who value preservation over novelty, and who are drawn to tactile, imperfect, storytelling fashion. My audience includes people who are curious about the histories woven into textiles, and those who appreciate quiet drama, nostalgia, and genderless craft. There’s something magical about stepping into a vintage shop—seeing old toys, worn ballet slippers, or scuffed leather shoes that once belonged to someone from another time. I’m drawn to these objects not just for their beauty, but for the stories they carry. That sense of wonder fuels my practice. 'Beatrice’s Attic' is a tribute to the forgotten, the sentimental, and the soft chaos of memory. This collection was shaped by what I found—literally. I designed alongside my materials, letting charity shop fabrics, vintage trims, and deadstock textiles lead the way. My fabrics include cloths donated by friends and family, up cycled curtains from a house about to be demolished, embroidered tablecloths from Belgium, and floral cottons collected in Poland. I’m fascinated by what these scraps once meant and how I can reimagine them with care. Inspired by the cluttered joy of attic spaces, vintage shops, and antique stores—places where every corner holds a forgotten treasure—and by the theatrical chaos of Punch & Judy puppets from Victorian fairs, the collection embraces a bold mix of prints and a slightly eccentric palette. I worked in 3D drape, often over found objects I’ve collected for years, letting form emerge intuitively. In one look, I developed a silhouette by tailoring patterns directly from a lampshade—layering, reshaping, and hand-stitching to suit the body while preserving its original structure. Wire, quilting, and extensive hand sewing were essential to working with such delicate, sun-damaged materials. The process was deeply tactile. I mended, patched, and stitched over stained or fragile areas, not to disguise damage, but to honour it. In doing so, each garment became its own story—a piece made not just with hands, but with memory, intuition, and quiet imagination. Rather than designing for trend or spectacle, I see my work as a kind of soft resistance—preserving overlooked materials and giving them a second life. This collection is for the dreamers like me, who step into old rooms and wonder who came before and what they left behind.
