WEAVING WORLDS

Fashion has always been a way to tell stories, but for Oran O’Reilly, it goes that little bit further—it’s a way to build entire worlds. Sarah Creighton Keogh spoke to the designer about his skyrocketing career, including working with the likes of Chappell Roan, CMAT and The Last Dinner Party. Photos shot by Alex Del Chill at The Fabric Counter.

Sitting across from me in a café, coffee in hand, Dublin-born designer Oran O’Reilly exudes an energy that is equal parts calm and pure creative passion. He tells with a fastpaced excitement his work isn’t merely about clothes—it’s about characters, narratives, and the worlds they inhabit.

It’s as if his creativity is too big to be contained by one conversation or, as I quickly learn, by one medium latte.

When he knocks over his coffee mid-sentence, he laughs it off; he’s the only person I’ve met who could make a stain look intentional.

But how did O’Reilly become one of the most exciting new voices in fashion, dressing It Girls such as CMAT, Chappell Roan and The Last Dinner Party? Like many creatives, his journey wasn’t straightforward. Beginning where many young Irish do, cluelessly filling out a CAO form, the Dublin-born designer had no idea what he truly wanted to do. Initially set on becoming a chef, O’Reilly made a last-minute switch to fashion design. It was a choice that would not only change his life but begin to shape the future of Irish fashion.

His decision wasn’t without its challenges. Growing up, he felt the pressure of rigid gender norms. “Can boys be designers?” was a question that lingered in his mind. Upon reflection and a look through any magazine, the answer was obvious—some of the most celebrated designers in history are men. But this societal assumption underscored a deeper issue: the restrictive notions of who can create, who can design, and who can belong in the world of fashion. This very thought would inspire his later collections.

O’Reilly’s career officially began with a secondhand sewing machine he purchased online for €20 just one week before starting college. The “janky little machine,” as he calls it, became the tool through which he discovered his love for the craft. Soon, he was designing pieces that blended technical skill with a boundless imagination.

It’s this blend of that exact whimsy and determination that defines his work. He approaches fashion not as an industry, but as an art form—a way to tell stories through fabric. Inspired by legendary 1970s designer Halston, O’Reilly creates collections with muses in mind, selecting individuals who embody the energy and ethos of his brand. “Halston was a huge inspiration for me,” he explains. “He had this ability to see people as more than just models— he saw them as characters, as part of his world.” Halston was also one of the first designers to include plus-size models and women of colour in his shows, something O’Reilly carries forward in his work.

His collections are theatrical, drawing on everything from old Hollywood glamour to 1970s New York nightlife. “I love a freaky girl,” the designer says, describing his obsession with unconventional muses.

O’Reilly’s ability to weave narratives extends to his collaborations with artists. When dressing the members of The Last Dinner Party, he envisioned each as a distinct horror character, merging their personalities with cinematic archetypes. Dressing lead singer Abigail Morris, he recreated Isabella Adjani’s haunting blue dress from Possession, swapping its unsettling green goo for cascading red chiffon.

Another one of his standout moments was creating a custom look for breakout queer pop star Chappell Roan for her performance at Kentuckiana Pride. With flourishes straight out of a John Waters film, the dress, inspired by drag icon Divine, was a celebration of queer identity and audacious self-expression.

“Filth is my politics, filth is my life!” Roan declared in a social media post showcasing the look. For O’Reilly, it was a chance to pay homage to an icon while creating something utterly contemporary.

And then there’s CMAT, the Irish pop queen who’s become one of the designer’s most high-profile muses. Known for her eccentric, retro-inspired style, CMAT and Oran are a match made in creative heaven. Whether crafting vintageinspired pieces for her music videos or dressing her for the stage, O’Reilly approaches each collaboration with the same narrative-driven mindset.

As much as O’Reilly is inspired by glamour and theatrics, he is equally committed to sustainability and accessibility. “The average dress size for Irish women is a 12,” he notes. “Fashion needs to reflect that. It’s not just about what looks good on a runway—it’s about what makes people feel good in real life.”

O’Reilly’s designs are as much about community as they are about individuality. His works are celebrations of diversity. Creating without limitations, he strives to be accessible for people of all sizes, genders, and backgrounds. “I don’t think clothes are a gendered fabric,” he tells me, reflecting on his work. “Fashion should be accessible, and it should make people feel seen.”

This philosophy informs every decision O’Reilly makes. From using sustainable practices and materials to showcasing diverse models, his brand is as much about representation as it is about innovation.

While O’Reilly has already achieved more than many designers dream of, he’s far from finished. “My ultimate goal is to keep doing what I love but on a bigger scale,” he says, with ambitions of dressing the likes of Ethel Cain and Florence & The Machine. He tells me: “The dream is to show at Fashion Week, to reach more people, and to keep telling stories through my work.” He envisions a world where fashion isn’t just for the few but for everyone—a world where clothing is a form of self-expression, free from the constraints of gender, size, or societal expectations.

In the meantime, Oran O’Reilly continues to push boundaries, dressing artists, creating characters, and bringing his unique vision to life. For him, fashion is more than an industry—it’s a stage, a theatre, a world of its own. And with every stitch, he’s inviting us to step inside.