Sybil Connolly

Sybil Connolly (24 January 1921 – 6 May 1998) was a celebrated fashion designer and global icon known for her innovative use of traditional Irish textiles in haute couture.

Often described as "Dublin's Dior", she achieved international repute and success, making her one of the first Irish designers to do so.

She was a member of the "Big Three" Irish fashion designers (along with Irene Gilbert and Raymond Kenna/Kay Peterson), and was described by former Taoiseach (prime minister) Jack Lynch as: "a national treasure."

She worked with brands such as Tiffany & Co., Bloomingdales and among her fashion label's famous clients were America's First Lady, and style icon Jacqueline Kennedy, Elizabeth Taylor, the Rockefellers and Mellons.

Her activities were covered in both the fashion press and the social columns of publications such as the Hollywood Reporter.

Described by Bettina Ballard as a "personable milk-skinned Irish charmer," she came to the notice of Carmel Snow, the Dalkey-born editor of Harpers Bazaar.

Snow was instrumental in introducing Sybil Connolly to the American market and press.

Sybil Veronica Connolly was born on Clanllienwen Road, in Morriston, Swansea, Wales.

Sybil was the eldest of two daughters of Evelyn Connolly (née Reynolds) from Wales and John Connolly, an insurance salesman from Waterford, Ireland.

Her education came largely from her Welsh grandfather and private tutors.

Her father died while she was a teenager and the family moved to Waterford, Ireland, where she spent two years at the local Our Lady of Mercy School, Military Road, Waterford.

At seventeen her interest in clothes led her to be apprenticed to a London dressmaking company run by two Irish brothers, Jim and Comerford Bradley in London.

Here she worked for their prestigious firm of Bradley & Co – whose clients included Queen Mary.

Connolly would attend Buckingham Palace fittings where she was allowed to hold the pins.

Returning to Ireland in 1940, she worked for the Dublin store Richard Alan, remaining unknown to the general public, for the next thirteen years, until she replaced the French-Canadian head designer, Gaston Mallet in 1953.

She was invited by Jack Clarke to produce the next season's range.

Here her work was spotted by American buyers.

She was known already for her textiles, including the crystal pleated linen that was said to take nine yards of material for each yard of finished cloth.

It is said that she received her initial training at The Grafton Academy.

In the late 1950s, she was employing around 100 women, half of them working from their own homes where they wove tweed or handmade lace.

Among her assignments was to redesign habits for three orders of nuns – the Sisters of Mercy in the United States and two Irish orders.

Connolly was adept at reworking traditional Irish fabrics and styles – including peasant blouses, flannel petticoats and shawls, finely pleated linen, wools such as Báinín, Limerick and Carrickmacross lace, – to give them contemporary appeal and glamour.

She took the red flannel traditionally used for petticoats in Connemara and turned it into huge billowing peasant skirts.

Vawn Corrigan cites her importance in the re-imagination of Donegal tweed.

Connolly's first major fashion show was held at Dunsany Castle in 1953.

Photographer Richard Dormer used the house and its grounds for a shoot of Connolly's clothes and one picture – showing model Anne Gunning in a full-length red Kinsale cape and white crochet evening dress – made the cover of Life magazine in August 1953 under the heading 'Irish invade fashion world'.

" The show was a huge success – thanks in part to Harpers Bazaar editor Carmel Snow. It was attended by American press and buyers and Connolly’s career took off rapidly after that, especially in the United States.

Connolly wisely capitalised on this publicity by travelling with her collection to the US later that year, where she made another life-long friend, Eleanor Lambert, doyenne of American fashion publicists.

Avedon's photographs of Connolly and her fashions also ran in Harpers Bazaar of October 1953.

She was also a glamorous advert for her brand – a 1954 feature in Housewife magazine gushed: "this fairytale person has looks. Short curling dark hair. Eyes the brown of peat...And a model figure too".

She broadened her export market via a friendship with the newspaper magnate Frank Packer, with two heavily publicised visits to Australia in October 1954 and August 1957.

She made one skirt out of men's linen handkerchiefs, and in 1954 a summer dress out of striped linen tea towels, called the "Kitchen Fugue", leading her to be praised by Bazaar as someone with an "intuitively facile hand".

Perhaps her most distinctive contribution to fashion was pleated handkerchief linen – as worn by Jackie Kennedy in the official White House portrait – it took up to nine yards of Irish linen handkerchiefs to create one yard of the uncrushable pleated fabric that she pioneered.

Connolly officially launched her couture label in 1957; she was 36.

Part of Connolly's success may be attributed to her flair for publicity.

By the time she was profiled in the Saturday Evening Post in November 1957, three-quarters of Sybil Connolly's gross earnings (then estimated at $500,000 per annum) originate in sales to the United States.

She was made part of the International Best Dressed List Hall of Fame in 1965.

As her profile continued to rise in the United States, so did her client list – with Julie Andrews and Elizabeth Taylor wearing her clothes.

Notably, Jacqueline Kennedy wore a Sybil Connolly pleated linen dress when she sat for an official Aaron Shikler White House portrait in 1970.

Many of her designs were sold, via private shows, to prominent social names such as Mellon, Rockefeller and Dupont family members.