Paul Costelloe: A House Reborn

By Rebeca Riofrio

For ten years, I have attended the Paul Costelloe show.

There is something deeply reassuring about a house that understands itself. Season after season, Paul Costelloe delivered tailoring with discipline — Irish wool, sculpted shoulders, structure without apology. His clothes were built, not assembled. They stood.

This season, there was a different current in the air.

It was the first collection presented by William Costelloe as Creative Director following the passing of his father. There are moments in fashion that feel ceremonial. This was not one of them. There was no overt tribute, no theatrical sentiment. What unfolded instead was far more powerful.

Continuation.

William opened with tailoring crafted from Irish wools and tweeds — a clear signal that the foundation of the house remains intact. Strong shoulders. Precision cuts. Coats that hold their form. But within that familiar architecture, something had shifted.

The silhouette felt sharper.

Modern tailoring was explored through bold proportion and sculpted construction. Corsetry met silk and organza. Oversized collars swept dramatically over the head. Wide pleated trousers introduced movement and ease. Knitwear — full cashmere rib and cable — carried both strength and softness.

The dialogue between tailored and fluid fabrics created tension. And tension is where fashion lives.

The palette remained disciplined — earth-toned tweeds, creams, chocolate, tan — before moving into a striking finale of black and charcoal. Subtle sequined suits appeared. Tuxedos glinted with diamante button details. Fluid black and silver jacquard dresses closed the show with quiet confidence.

This was not a house in mourning.

It was a house adjusting its posture.

There was one particularly moving detail — an in-house print designed jointly by Paul and William before Paul’s passing. Their final collaboration. It did not feel nostalgic. It felt anchored. A bridge between hands.

After ten years of sitting in that room, I can say this with clarity: the DNA remains. But the energy has evolved.

If Paul Costelloe built the house on discipline and heritage, William has introduced a subtle sensuality. The tailoring feels more sculpted. The black more daring. The woman more aware of her presence.

Is this Paul Costelloe 2.0?

Perhaps.

It is certainly not imitation. Nor is it rebellion. It is evolution — respectful, measured, yet confident enough to step forward.

Transitions in fashion are rarely seamless. Some houses cling too tightly to archive. Others sever too abruptly. William has chosen a more intelligent path. He honours the structure while refining the silhouette. He keeps the bones, but shifts the stance.

And that requires courage.

The room felt it. Not relief — but belief.

This was not an ending.

It was a beginning.