A Stitch in Time: Aishling Ryan Ellis Weaves Feminine Power and Irish Folklore into Final Collection

On the lively campus of NCAD in the heart of the Liberties, I met final year fashion design student Aishling Ryan Ellis to talk about her heritage-driven final collection. Aishling’s collection blends ancient Irish symbolism with childhood nostalgia and a modern take on feminist empowerment.  

Guided by memories, when I asked Aishling where the collection began and what provoked the first thought, she explained: “it all started with my Nanny,” her tone fond and nostalgic, “she taught me how to sew, knit and she was the one who actually told me to do fashion.” The influence of Aishling’s Nanny is visible in every thread of this collection, “most of my sampling in the beginning was based off her plastic rain bonnet that she and so many other nannies used to wear, to me it’s such a Dublin thing, although they are worn all over the world.” 

As Aishling’s sampling continued, she explored different aspects of Irish heritage, narrowing in on femininity, which led her to the infamous Sheela Na Gig, an ancient Irish symbol. I asked Aishling what the Sheela meant to her and to this collection, “When I was in third year, I was in Collinstown Barracks, and I saw this necklace in the gift shop and it was a Sheela Na Gig and I thought it was so cool so bought it and I researched it.” A Sheela Na Gig is an ancient Irish symbol that depicts a feminine figure in a deeply exaggerated pose and has caused controversy throughout the centuries. “They’re a symbol of unapologetic femininity,” Aishling says, “The thing with the Sheelas is that they’re very mysterious, we don’t actually know the real meaning behind them, people speculate it’s probably fertility and protection, but it’s very in your face as it’s very unapologetic.” 

Aishling’s work draws heavily on this boldness and the unapologetic nature of Sheela. The collection features a lot of embroidery and “cutesy girly ruffles,” as Aishling describes, which are very delicate against the loud oversized paper nylon pieces. “The paper nylon itself is quite a loud fabric,” Aishling remarks with a smile, “I think it’s a nice way of tying in the unapologetic nature that so many women have these that my Nanny and most women in her time didn’t have.” Aishling’s collection expertly contrasts dainty and seemingly feminine aspects with loud, brazen silhouettes and materials.  

“Some of the garments are really big. They make noise. They’re not afraid to take up space.” 

The techniques used in the collection further add to the contrasting themes and inspiration-driven nature of the collection: “I was etching into fabrics, which burns the top of the fabric and it paints the image on with a laser,” a subtle yet striking technique. Etching used along with sublimation printing onto the paper nylon, which Aishling says she’s using to “create the synthetic feel of the plastic rain bonnets,” creates a new level of depth to the pieces by being able to add large-scale images to garments.  

Aishling’s own heritage and deep-rooted love for Ireland and her culture is stitched into this collection, her inclusion of four-legged and three-legged Brigid’s Crosses she says, “feels very Irish.” Aishling also remarked on her disappointment at not being able to use Irish linen but hopes to use it in a future project.  

Has working in the Liberties influenced her work? “Oh, absolutely! It feels like a creative area, when I walk down Francis Street and go through the Liberty Market, it’s all just so creative, there are so many small local businesses around.” Aishling also spoke on the attitude of the community, “I feel like a lot of college towns are nearly complaining about the students, whereas I feel like the students are very accepted in the area, staff in pubs and coffee shops all around here are so friendly.” Aishling went on to explain that although the influence of the Liberties didn’t make it directly into her collection, it played a huge role over the last four years of her college life.  

I ask Aishling how she would sum up her collection in three words. “That’s a tough question but we’re gonna bring it back to unapologetic, celebratory and… loud” she answered thoughtfully. Aishling also mentioned that she has “enjoyed every moment of it, from brainstorming to actually putting the pieces together, it’s been challenging but so rewarding to create something so close and familiar to me, especially for my final collection.” 

Aishling Ryan Ellis’s powerful final collection will be showcased in NCAD on Friday, 6 June and open to public viewing.