In any group of fashion graduates, menswear designers will always stand out simply because of their rarity. So, at the recent National College of Art and Design (NCAD) collections, the work of Gareth Moloney grabbed attention as one of only two lines for men among the 17 shown. But there were other reasons why Moloney's clothes were worth examining, not least the attention paid to finish. A clean hem is something consumers take for granted, but not all young designers necessarily understand the importance of good manufacturing techniques.
Moloney's background helps to explain why he appreciates quality of workmanship. Now 29, this is his second time around at NCAD; in 1991, he received a diploma in woven textiles from the college, having specialised in fashion fabrics for men. As the Irish economy at the time had not yet achieved its present buoyancy and he had to earn a living, he took a job with the A.Wear group which lasted for almost five years. His graduate collection shows how useful a grounding in retail has been, since it displays a clear understanding of commercial realities.
While with A.Wear, Moloney got to know John Rocha, whose label was then being sold by the Irish chain. Subsequently, having returned to NCAD to take a degree in fashion, he spent a four-month placement working in Rocha's design studio, where he could discover how a successful practice works. This knowledge was further enhanced by a six-week period with Magee's in Donegal last year. The introduction of free fees - plus an awareness that if he were ever to become a designer he needed to improve his technical skills - tempted Moloney to leave A.Wear and go back to college. It is a tribute to these skills that next Friday he will be presented by the Irish Clothing Manufacturers' Federation with an award for computer-aided design.
Moloney makes no great claims as an innovator, wisely understanding that novelty tends not to be well received in menswear. Instead, he has concentrated on both good finish and good fabrics. The latter include rich Harris tweeds and cashmeres, silk for shirting and mohair for knits. He argues that where men's clothes are concerned, the right materials correctly used should be sufficient to make an impact.
His graduate collection, which has a predominantly dark palette, looks especially successful when worn in layers; it therefore comes as no surprise to hear that he particularly admires Belgian designer Dries Van Noten, who also uses colour sparingly but can achieve effects by the combination of different fabrics and textures. Gareth Moloney's shapes tend to be unstructured, and his range at present contains no suiting. Need this absence matter? Possibly not, as more men choose not to opt for the constraints of tailoring. What does matter is that here is a young menswear designer who combines market experience with design ability, a rare and fortunate conjunction.
At the moment, he has no firm plans for the future except to stay in Ireland - a change from the aspirations of so many previous fashion graduates. The collection he has just produced certainly suggests there is a place for Gareth Moloney in this country.
