Sinead O’Dwyer SS/22: What do nannies do when the children go to sleep?

 

What is this collection and film about? What was the starting point when you began working on it? 

Sinead: I was just ending a very specific chapter of my life that has been super important to me; I have been working as a nanny part-time since I was 18, and I think I just got into a space of researching nannies and other domestic workers’ garments throughout history (aprons, bibs..) and then, very contrastingly, the power dynamics of subservience and dominance and the usage of those same garments in a fetish context.

“Based on Sinead’s experience as a nanny, alone, when the children were asleep, with space and time, we sought to depict a private and uninhibited exploration of one’s joy.” – Sharna Osborne

Sharna: Our four protagonists embody a departure from the prescribed and conspire to fulfill their own pleasure. Based on Sinead’s experience as a nanny, alone, when the children were asleep, with space and time, we sought to depict a private and uninhibited exploration of one’s joy.

“I believe that different bodies need to be present at the start of the design process to make a real difference, not only as an afterthought in the grading phase.” – Sinead O’Dwyer

Although your work keeps a strong aesthetics language, this collection feels more wearable; was this a conscious decision, or did it happen organically?  

Sinead: I think it happened organically, I feel I’ve said what I wanted to say (for now) through casting. I started with a very literal criticism of the industry because that’s what I needed to say first and now it inspires me most to put that criticism into action by running my brand in the way I think the industry needs to operate. I believe that different bodies need to be present at the start of the design process to make a real difference, not only as an afterthought in the grading phase.

What was the process behind the making of this collection? Do you work alone or do you have a team of people?  

Sinead: I usually have an intern and then a few more running up to deadlines. I was very lucky to have an amazing trio of young designers working with me over the last month. It’s so lovely to share the process with others. I also have a close friend who has worked freelance for me this season. However, it is still mainly just me running everything which is very intense.

“If you don’t immediately have something desirable to sell for cash flow that fits your values, then you need to keep a part-time job which in turn slows down things by half more and takes way too much time from building your business.” – Sinead O’Dwyer

Designers like you, Sinead, who have artistry at their core, are struggling to belong to a specific fashion category. Does this affect the business development of your brand, or do you enjoy pushing the boundaries of what a fashion designer is?  

Sinead: It’s definitely been a big struggle. Translating my practice in casting into a practice in pattern-drafting has been really exciting but has taken me a while as I needed to find the continued meaning in the work. It is worth it though, I am always seeking to subvert something enforced upon the femme body and clothing is a very satisfying medium to do this in.

What is the most important learning you’ve got the last few years of running a design studio? 

Sinead: That its’ really hard! If you don’t immediately have something desirable to sell for cash flow that fits your values i.e. sustainability, ethics, concept and you need to continue searching and growing then you need to keep a part-time job which in turn slows down things by half more and takes way too much time from building your business. I think figuring out how to quit your part-time job as soon as you can is a good one but you also don’t want to be just making something to sell for the sake of it… I think selling made-to-order directly to consumers is a good way to start.

“If you find a creative harmony with someone it consequently erases any external disparity.” Sharna Osborne

How was the collaboration when making the film? In what ways do you fit together? Do you stand for the same values?

Sinead: I love working with Sharna, it’s been such a fun collaborative process, I feel like aspects of our practices really intersect in terms of process, subject matter, and how intuitively we work with our given mediums.

Sharna: I believe so and it was evident in how collaborative the whole process was – always identifying each step with the same eye and intention.

Do you think that established image makers like you Sharna should try to work more with emerging designers and help them at the first stages of establishing a brand?

Sharna: If you find a creative harmony with someone it consequently erases any external disparity. Perhaps that’s something I would highlight regarding collaboration choices more than anything else.