First off the mark with the new spring collections, The Design Centre, in Powerscourt Townhouse, blazed a trail that simply left the audience stunned and wanting more.
A simple message, but a complex subject - the clothes are feminine, in a straightforward way that is full of art and guile.
Truly seductive and very romantic, the colours and fragile fabrics are the key to the look.
Pinks, icy blues, palest greys and a lot of white are feminine in themselves, but coupled with fine Irish linens, transparent chiffons, sometimes used in tandem, and lacy knits sometimes threaded with silver filigree, and you have gone into high romance territory that suggests women are asking for a change.
Even the suedes, cottons and crepe de chines are soft and touchable. And then there is the actual line - the unstructured tailoring, the re-emergence of layering, the starkness of the cut, the return of the Japanese style, and the absolute endorsement of the ankle-length dress. Pretty Woman should be out and about with the first splash of sunshine.
The Design Centre is now a long minimal space in Powerscourt Townhouse, and, apart from some 20 Irish designers, it also stocks a few international names such as Issey Miake and Comme des Garcons.
Most of the Irish names are very well established. Louise Kennedy, unfailingly apt with her silk separates and fluid jerseys, Mary Gregory, monochrome and Japanese, Lyn-Mar iridescent and layered, and Miriam Mone, with pleated muslins and stretch laces among them.
Newcomers include Karyn Hurley who puts white embroidered chiffon over white linen and Liam Grier with a sexier interpretation using tight stretch knits threaded with lurex. Names to note.
The clothes chosen for the fashion show favoured the leisured life, the warm climate, the opportunity to look beautiful while doing very little. While not being obviously opulent, this is a moneyed look.
Then there is Brid Nihil's splendid puffball silk grosgrain skirt with an antique lace top, and Allicano's fragile white linen group.