Saturdays at Skibbereen Farmers Market

In May and with some trepidation, I began getting up earlier on a Saturday morning to head off to  Skibbereen Farmers Market.  Having had several years experience of the bricks and mortar kind of retailing, being outside in what is basically an open tent and subjected to the weather, was a scenario that was a little daunting. However, my partner, Donagh Carey, a fine artist, was to join me and together we brought a combination of wares that possibly hadn't been seen together at Skibbereen Market before.  

Skibbereen Farmers Market is everything you want a market to be.  A diverse collection of local stallholders selling interesting  things that you actually want to buy.   For those who appreciate Slow Food, you can do your weekly shop at Skibbereen Market and be confident that you're buying from the person who has produced it and who has travelled just a few miles.  You can only get fruit and veg that's in season, because you'll only find local food here.  There are stalls specialising in collectable jewellery, glassware or china, secondhand books and vinyl records.  There are contemporary ceramicists  and knitters of hand dyed yarn, plus many stalls selling plants for the garden or polytunnel  and a lady who grows her own  flowers and sells the most charming cut flower bouquets.  It's a real authentic market.

Having a website is grand, in fact in the 21st Century it's essential, but I was missing out on  interacting with clients and getting feedback. It's one thing presenting images and descriptions online and a totally different experience meeting people one-to-one and hearing their responses and seeing how the clothes actually fit.  And of course, for customers, it's much easier to know whether something is going to suit you if you have it right in front of you and can see and feel it.  I've even customised a private fitting area complete with mirror and carpet so you can try things on.  

There are many lovely aspects to spending a Saturday at Skibbereen Farmers Market and they are all connected to the people who are there, both stallholders and market goers.  Having an opportunity to have conversations about sustainability and what it means, finding out what resonates and what is important to different people and explain how I'm approaching sustainability in the collection, all make for a very fulfilling day at the market.  One lady, dreamily lost in her own thoughts whilst examining a garment made of printed cotton fabric, suddenly commented, "These remind me of clothes I use to wear".  That will do for me.  


We'll be at Skibbereen Farmers Market on the Fairfield off Bridge Street every Saturday from 9am to 2pm come rain or shine (but probably not hurricane).  Contact me for me details on anything to do with the collection or the market.  For more information about the work of Donagh Carey click here.


All The Nice Girls Love A Sailor (Shirt)

Story of Our Kinsale Shirt

Hark, now hear the sailors cry
smell the sea, and feel the sky
let your soul & spirit fly, into the mystic...
— Van Morrison

Our Kinsale shirt is inspired by the tradition of the sailor suit, but how did the universally recognised sailors apparel, particularly the sailor collar, come about in the first place?

In the beginning, there was no official uniform for seamen, they would have worn their own clothes and being away at sea for so so long, they tended to let their hair grow.  Sailors used grease or tar to hold their long hair in place so that it didn't get in the way as they worked. There wasn't much opportunity for bathing or laundering on a ship, so to protect their clothing from the tar, they wore a piece of cloth over their shoulders which became known as a 'tar flap'.

Eventually, the naval forces formalised the dress code and although sailors were no longer allowed long hair,  the tradition of the tar flap was incorporated into the uniform with the sailor collar that we know today.  Due to the perilousness of the sea, sailors were (and perhaps still are) a superstitious lot and it may have seemed prudent to retain the collar, in spite of it's original function having become obsolete.   Even nowadays, it can be considered good luck to touch the collar of a sailor.

The archetypal dress of a sailor with the flap collar, neckerchief and bell bottom trousers has a singular look, conjuring lively sailors disembarking their ships after months journeying away at sea before returning to shore. There's a romance and mystery to the look of the classic sailor uniform, unlike anything a land-locked civilian might ordinarily wear, evoking the exotic and adventure, an irresistible combination.  

source: Twisted Limbs and Crooked Branches

source: Twisted Limbs and Crooked Branches

source: Authentic French Fashions of the Twenties

source: Authentic French Fashions of the Twenties

There's something inescapably appealing about uniforms in general and the sailor suit has long been referenced in the styling details of clothing for us non sea fairing folk, initially being popularised in the 1800s in women's fashion as well as young boys dress, hence the popularity of the sailor suit for page boys at weddings.

source: Chanel, Couture and Industry

source: Chanel, Couture and Industry

Around 1913, the French designer, Gabrielle Chanel rebelled against the accentuated feminine shape that had long prevailed in women clothing, with it's restrictive corsetry.  The fashion was for women to wear dresses which were boned to create a tiny waist, and an exaggerated bust and hips and inevitably this constrained movement as well as requiring someone to assist with all those fastenings and laces.  

Chanel  designed clothes with a relaxed cut, taking elements from mens clothing, including mens workwear which had a more utilitarian feel and was eminently more practical.  She also utilised fabrics never before thought of as suitable for women clothing; knitted jersey in wool or silk was mostly used for sports and beach wear and in it's natural colour state, for mens undergarments.  During the war, traditional fabrics were in short supply as they were used for uniforms, so it was easy step to persuade people of the necessity of turning to jersey clothing, which helped revolutionised the comfort and practicality of womenswear.

Gabrielle Chanel (above) in 1913 wearing her own clothing designs, of a heavy jersey sweater with sailor style collar and linen skirt.  At the time, it would have been  unusual for a woman's garment to be pulled over the  head and years later, American Vogue commented "To many rich women, the charm of Chanel lay in the remarkable fact that they could dress themselves without anyone's help." 

In more recent times, to mark her engagement at Buckingham Palace, Princess Diana wore a navy ensemble complete with a white sailor collar blouse and red ribbon bow.  It is thought this was a nod to the traditional dress once worn by younger members of the royal family since the times of Queen Victoria and Czar Nicholas.

What we think of as a sailor suit is now mostly worn by junior servicemen and only on ceremonial occasions and has been replaced by a modern boiler suit style uniform for everyday wear.  The traditional uniform with sailor collar designed to protect clothing from tar and the bell bottom trousers, practical for rolling up when scrubbing the ship's decks, has been updated to meet the requirements of modern day life in the Navy. However it lives on, providing inspiration in clothing design, to be reinterpreted and re-configured again and again.

source: Diana, Her Life in Fashion

source: Diana, Her Life in Fashion

Detail of the Kinsale shirt in pure cotton with carved mother-of-pearl buttons

Detail of the Kinsale shirt in pure cotton with carved mother-of-pearl buttons

Our Kinsale Shirt borrows the sailor collar from the traditional naval uniform as well as referencing the twenties, when women's clothing became more androgynous, adapting the fit to suit a contemporary femininity.  This version with three quarter length sleeves is in a beautiful, fine cotton jacquard of elephant grey with brick red and ochre patterned stripes.

Back Stage At DesignedBy Runway Show

DesignedBy was one of the many innovative events taking place to celebrate and promote local design in Northern Ireland's first city, Belfast.  Staged at The MAC, Belfast's contemporary arts centre, DesignedBy was a curated exhibition of clothing and accessory designers by fashion stylist and journalist, Jessica Fok.  Jessica was keen to put on a fashion show that focused on design rather than trends and Belfast Design Week was the perfect fit.  

We were invited to participate in DesignedBy to show what sustainably designed clothing looks like and were delighted to show alongside Northern Irish designers including Attune Womenswear and Marie Claire Ferguson.


Northern Ireland's pre-eminent Arts Centre is always buzzing and there's always lots happening, so The MAC proved to be the perfect venue for the DesignedBy runway show.  


Back stage, the designers fitted each of their looks to one of the models from the Maureen Martin Model Management. The Charleville Dress is ready to debut... 


Runway models were attended to by hair and beauty designed by Hair Artist Kelly White and Chief Make-up Designer Joanne Gray.


Models backstage awaiting their moment to walk:  Ella wears All Seasons Dress in indigo Irish linen and Lauren is dressed in the cotton Kinsale Shirt.  We partnered with CrossEyes spectacle specialists, whose retro styles perfectly complimented our sustainable clothing.    


A favourite image of Vuitton wearing the Gabriel skirt in wool tweed and side buttoned top in Irish linen.  Curator and organiser, Jessica Fok ensures the schedule is seamless.

Linen As An Ethical Fabric

How much do we know about the fabric our clothes are made of and it's environmental impact? Looking at the labels in our clothes will tell us whether they are made of natural fibres like cotton or wool or from synthetic fabrics derived from petrochemicals, such as nylon and polyester. There are various aspects to consider when understanding how ethical a fabric is, including the use of pesticides and fertilizers, water consumption and the pollution caused by treatments such as dying and printing the fabric. Fabrics made from petrochemicals are highly polluting and the production of these fabrics is a named cause of global warming; nitrous oxide is release during the manufacture of nylon and is a known powerful greenhouse gas. In addition they are non-biodegradable which means they don't break down easily and remain in landfill for centuries after they've been dumped.

Irish Linen

Linen is one of the worlds oldest fabrics, dating back to 8000BC and the antithesis of nylon, polyester and other synthetics. It is believed that the flax plant, from which linen is made, was grown in Ireland as far back as 1000BC and there is certainly evidence that Irish linen clothing existed 2000 years ago. Linen clothing must have been widely worn by the population of Ireland in the 16th Century as Henry VIII wrote to the town of Galway telling them to cease using excess amounts in their shirts and smocks and the limit was set at 7 yards per garment. However, the decree was mostly ignored and up to 30 yards of linen was often incorporated and was very likely a necessary means to keeping warm in the damp Irish climate (although 30 yards seems like a huge amount for one smock).

Irish Linen

Up to the early 1800's, Ireland was self -sufficient in growing flax for linen, but good cultivation practices were neglected and the quality suffered. Supplies of superior flax became available from Europe after the ending of the Napoleonic Wars and flax began to be imported from Belgium and Germany from this time. During the 20th Century, the arrival of man made fabrics caused linen to be regarded as old fashioned and demand for linen clothing fell. It was only at the latter part of the century that interest was revived in natural fibre fabrics and Irish Linen's unique quality appreciated. Nowadays, the term Irish Linen refers to fabric that has been woven or knitted in Ireland and contemporary Irish Linen is acknowledge worldwide as being of the highest quality

Irish Linen

Irish linen isn't certified organic, but it's ethical credentials are good. The flax used is brought in from France, Belgium and the Netherlands, which means the workers and the environment are protected by EU laws regarding working conditions, pay and ecological impact. And the carbon footprint is low compared to importing the raw material from countries on the other side of the world. The cultivation of flax uses much less water and fewer pesticides than cotton. After harvesting, the crop is laid out in fields to 'ret' allowing the linen fibres to naturally separate, the seeds are removed and used for cattle cake or linseed oil and the bark is used for chipboard - no part of the flax plant is wasted.  These are welcome practices for sustainability.

The fibres in linen fabric are very strong making it highly resistant to tearing and it's stability as a fabric means that garments retain their shape and don't shrink. The reason linen is so popular in summer is that it's light and cool to wear and conveniently absorbs perspiration, but there's no reason why it shouldn't be worn all year round. Linen clothes are easy to launder and will withstand numerous washes as the fabric actually becomes stronger when wet. If correctly looked after, linen clothing has the potential to last a very long time, which combined with coming from a renewable resource and being biodegradable, makes it an ultimate sustainable fabric.

A characteristic of linen is that it creases easily, although new technology is developing different finishes which are 'easier' to care for. The wrinkles identify linen as linen and you either love the look or you don't. I was brought up to think that creases were undesirable and fabrics that creased should be avoided or repeatedly ironed - perhaps the result of how the 'new' synthetic fabrics were marketed, back in the day. However, I've come to love the creases in linen; when you first put on a freshly laundered linen garment it's crisp and a little stiff. After an hour, the first creases stand out like lone footprints in the sand. By the end of the day, the garment has softened, draping in a way that only linen does with tiny, multiple creases that crisscross, reflecting the life lived that day. Of course, polyester doesn't crease and never needs ironing, but where is the sense of history and charm in that?

Irish Linen is durable, but it's durability is meaningless unless we rethink our attitude to clothes shopping and how we regard our clothes. The number of clothes that we buy has increased massively in recent decades. Clothes shopping has evolved so that buying as many items for as little as possible has become something to boast about. The reality is that we've been persuaded by clothing brands and the media that this buying habit is a good thing, something to be commended, but the reality is that it's not right; in so many ways, it's really not ok. We need to begin valuing each individual garment in our wardrobe, starting by choosing something that we truly love wearing, then taking care of how we launder and maintain it when it needs repairing. It is a different way of thinking about the clothes we own and Irish Linen, with it's heritage and elegance, should merit a place.

Designing Clothes For Sustainability

Design, be it good or bad, is the main factor in determining the lifespan of a garment, so the fashion designer has a responsibility to make good decisions from the start. Sustainable fashion aims to derive longevity from clothing, meaning that it should have a useful life for a long time; one of the main objectives is to keep it from being thrown away. Every year around 350,000 tonnes of clothing are dumped in landfill in the UK and this is especially bad news when it is made from synthetic fabrics like polyester, which not only does not decompose, but can also release toxic chemicals into the environment. Sourcing fabrics which have a less harmful impact on the environment as well as ensuring that the supply chain respects the human rights of workers worldwide, is one factor we as a sustainable clothing brand must consider when sourcing fabrics and manufacturing.

But what about the garment itself? The average time a garment spends in our wardrobe is about two years, but this may not mean it has actually come to the end of it's lifespan, just that we've got bored of it. A fashion blogger wrote that she knows it's time to have a wardrobe clear-out when she's run out of hangers, an experience perhaps familiar to many of us as the consumption of fast fashion has encouraged us to think it's ok to turn over the contents of our wardrobes at an ever increasing pace, particularly when we anticipate that some items only last a few washes anyway. According to WRAP (the UK organisation helping businesses and individuals reduce waste, develop sustainable products and use resources in an efficient way), extending the average life of clothes by just three months of active use would lead to a 5-10% reduction in each of the carbon, water and waste footprints.  

What of the designer's role in this? Designers love seeing the clothes they've designed being worn by people living real lives and it's the greatest affirmation of good design to discover a garment still being worn, years after it was first produced. From the designers point of view designing for sustainability should be an opportunity rather than a constraint with the main aim to show that ethically produced clothing can be gorgeous - and stand the test of time. Undoubtedly, the style of the garment is the primary consideration for the wearer; something that looks appropriate for the demands of the day, whether it's being professional at work, doing the school run or an evening out. A garment serves us best when we know that we look good, but we feel we look good, too.   

sustainable fashion

A range of decisions by the designer affect the life expectancy of the garment: choice of fabric, trimmings, washability, construction and finishing will determine how hard wearing it is, but the styling and aesthetics of the garment are more subjective, although nonetheless crucial for longevity. It is probably true that tailored or semi-fitted garments are longer lasting as they frame the body favourably, although looser fitting pieces offer versatility of fit and therefore can also be long lasting. It may seem dull, but clothing in the 'core' colours of black, white, grey, red, navy and beige tend to stand the test of time.   

The clothes we design and make at Tamsin Blackbourn are the clothes we want to wear ourselves - and we expect them to last. Designing for longevity means bringing together the elements of style, function, quality, colour, proportion and fit. One of the main reasons people don't wear the clothes in their wardrobes is because they no longer fit, so we try to leave extra fabric in the seams so they can be let out and in the hems, so they can be lengthened. We're also looking at incorporating adjustable fastenings in the future so that the fit of our clothes can be more flexible. We don't believe in unnecessary detailing; to mis-quote Coco Chanel, where there is a button there should be a buttonhole and where there's a pocket flap there should be a pocket, meaning that it's a waste of labour and materials to add something purely for show – all details should have a function. When appropriate, we prefer to fully line our clothes; we think most clothes hang better for it and it increases the strength and durability. It also saves having to search for an under-slip that isn't quite the right shape or length. When cutting the garment from the cloth, we look at the width of the fabric itself to be sure we're not creating unnecessary waste – better to have a little extra swing in the skirt than for the excess fabric to land wasted on the cutting room floor! We cut pattern pieces as cleverly as possible, but inevitably there will be offcuts, which we keep for trimmings. A Tamsin Blackbourn homeware collection is planned to repurpose left over fabric.

sustainable fashion

Sass Brown is a professor at the Fashion Institute of Technology in New York and has written two books on ethical fashion. She suggests, “Design at it's best is problem solving. It's finding a way to make the world a better place. And fashion has really got away from that. Fashion by default becomes something about trends and keeping up appearances as oppose to solving problems and investing in solutions. We've lost a real material connection to our clothing.”.  

We love this idea of design helping people re-connect with their clothing, it's a holistic way of thinking about creating; remembering that clothes must look beautiful, but must also be something we want to wear again and again, because they meet a practical and an emotional need. The role of the fashion designer is to consider the whole life cycle of a garment, where the designing and making is only the start of making clothing with timeless style that will endure through the wearing and caring stage, for a long, long time.