Isabella Rose Celeste Davey is a dynamic professional with an infectious attitude.
Beginning her career on the shop floor of Hamleys toy shop, the designer has hungrily worked her way through a multiplicity of roles - from a shop assistant in OmDiva and several other vintage stores, to working in the London studios of highly regarded Irish creatives.
Surviving on four hours of sleep a night (stolen in-between shifts of the waitressing job she worked on the side), she eventually found her way into the British Fashion Council, and was recently named Chief Operating Officer of Copenhagen Fashion Week.
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1. Tell me a bit about how you got to where you are today?
I guess I started when I was 14 with a job at Hamleys - and then it all went from there! I have been working ever since; I cannot remember a point in my life when I didn't have a part time job.
This work ethic – definitely inherited from my incredible mum – has seen me hold down all number of jobs, and work all across Dublin before moving over to London where I guess my career sort of started. When I was 16, I worked in A Store Is Born, then from the age of 17 I worked at Wild Child vintage clothing for two years before working at Om Diva for the four years I was in Trinity, studying Art History & Architecture and Classical Studies (I am forever indebted to my incredible professors.)
When I was 21, I moved to London for a few months, where I worked for the designer Claire Barrow who was part of the Fashion East program. Then I came back to finish my degree. I went back to London and worked in the studios for the likes of Irish designers Alan Taylor, Danielle Romeril and the Irish curator Gemma Williams, all while waitressing every evening (averaging a total of four hours sleep a night for six months while living in a tiny room with Greek folk musicians) in order to pay the rent.
Finally, I got my first break with a role at the British Fashion Council that evolved into overseeing NEWGEN; the world's leading emerging designer incubator program, Fashion Film and Fashion Arts Foundation. Foremost, my role headed up emerging designers and I created the London Fashion Week schedule every season.
With her superpowers of excitement and positivity, Davey is working to platform young, independent, and sustainable creatives. I caught up with her at CPHFW to find out more.
2. What are some of your key responsibilities as Chief Operating Officer of CPHFW?
I will be overseeing the full organisational structure, streamlining our outputs and strengthening our aims and goals – exciting things to come!
3. Did you always want to work in fashion?
Yes! But I studied History of Art & Architecture and Classical Studies. I have also always done my role at CPHFW on a four-day weekly contract basis so I could also consult on projects and contribute to a number of publications.
In recent years, I have become the Contributing Editor at the architecture publication Ark Journal and have written two books; one was a special limited edition book on Lucia Eames, the daughter of Ray and Charles Eames, which was a very beautiful project to work on. I love design in all its definitions and furniture has been a really special area to work across.
I was in Japan this year to interview one of my heroes about his foray into design, and have some amazing projects coming up this week – watch this space!
4. You label yourself as 'adopted Irish’, tell us a bit about that.
I moved from Australia to Ireland when I was 12. I absolutely love Dublin, and it is a place that has been incredibly good to me, welcoming me and my family immediately with open arms. I, sadly, have been denied a passport in spite of spending eight years paying tax to the nation, but at least my mum has been naturalised (she is Kiwi) and my dad is in the process of applying.
5. What are the main differences and/or similarities between Danish and Irish design?
There is a keen focus on craft, community and collaboration in both countries and cultures. However, Denmark has been more successful about being spotlit on a global stage and there is more support through funding programs here as well as a keen sense of local support.
6. Do you think there’s any competition between the various Fashion Weeks?
No, we work closely with all fashion weeks – the future is collaboration and support.
7. What is the most rewarding part of your job?
Supporting the emerging voices – I have dedicated my life to working with emerging designers from starting in Om Diva with Atelier 27 to overseeing our CPHFW NEWTALENT program - the future is with the young voices.
8. Can you envision an opportunity for a Dublin Fashion Week or similar?
The answer isn’t always a Fashion Week. We showcase the Nordic market here, so it’s a collective of nations. I think Ireland should start with targeted global projects and then host guests for a curated experience in Ireland.
Let all interconnect, and the answer may not always be a show. Seeing how the beautiful Aran jumpers are made would be more impactful in my opinion. The revolution will happen on the factory floor, to quote my wonderful friend Olya Kuryshchuk (Founder of 1Granary): its all about the process and the value chain; there is an opportunity for Ireland to exceed here. The history and heritage of textiles and craft in Ireland is magnificent – let’s modernise this.
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9. Do you have any advice to offer young fashion industry hopefuls in breaking into the industry?
Find inspiration in all that you do. I learned more from waitressing than I did from some of my internships as it taught me dedication, gumption and learning to keep your mouth shut!
I think also sometimes the bittersweet reality is that truly life is not fair: once you accept that and remove any chips on your shoulder, you can let this be your drive to cut your path. The world doesn’t owe you anything, but what will you give to the world?
We need more women leaders and also collaboration with STEM – one of the most powerful showcases I ever saw was a graduate designer who had worked with engineers to build a space suit wardrobe for astronauts. She made gloves that had special plants set into resin and built into gloves, so if the astronauts were feeling overwhelmed being so far from home they could nestle their nose into the glove and through the residue smell something from home. It was so beautiful, so innovative, and also so researched and full of collaboration.
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