VIP Style Awards in photos: Kathryn Thomas, Rosanna Davison, Jennifer Zamparelli and more Irish celebs walk the red carpet
The red carpet was rolled out at the Dublin 4 hotel for the fashion awards run by the Irish publishing group, now in their 22nd year.
No expense was spared as some of our best-known celebrities turned on the style with high hopes of walking home with one of the coveted accolades.
The Ballsbridge hotel was a sea of colour from 6pm onwards with some truly unique creations on display.
Attendees included TV presenter Kathryn Thomas, who has been working with Q102 on her new breakfast show. She was delighted to get another wear out of her stunning Helen Cody wedding dress, having gotten hitched in 2019 at Kilkea Castle to Padraig McLoughlin.
"This is my wedding dress. This was my evening number after the ceremony. She's my favourite designer and I looked at in the cupboard a week ago and went, 'The hook and the tie at the back is fastened but who cares?'
"She lent me the shoes too and I borrowed the clutch off my neighbour."
Recently linked with stepping into Joe Duffy's shoes on RTÉ Radio 1, she said she's been busy on Q102 with "my own radio show."
"I'm flattered and honoured. Joe is a gentleman. The first person to send me a 'good luck' card on my desk at Q102 was Joe Duffy. He wished me the best of luck, said he was delighted for me and sent me a text a few weeks later saying, 'You're sounding great.' He is the consummate pro. So when I hear people say, 'Who's going to step into Joe's shoes?' Nobody can step into Joe's shoes."
Other attendees included Rosanna Davison, Jennifer Zamparelli, Arthur Gourounlian, Elaine Crowley, Holly Carpenter alongside Lottie, Bonnie and Babette Ryan with mum Morah. Also spotted was Blathnaid Treacy, who was sporting a tiny baby bump as she looked forward to welcoming her second baby with husband Charlie Moone.
The evening was hosted by 2fm presenter Laura Fox as some 350 attendees enjoyed a Moët champagne reception before a sit-down dinner.
Tens of thousands of votes were cast by members of the public after the nominees were revealed by VIP magazine last month.
Some ten style awards were given out on the night, including Ireland's Most Stylish Woman and Favourite Irish Designer.
There was also an accolade for 'Best Dressed on the Night', which was only decided at the event itself.
This year also had an international element, given that streaming service Hayu sponsored the Most Stylish Man category for the first time.
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Extra.ie
26 minutes ago
- Extra.ie
Ib Jorgensen: 'It was good to see the Irish designers being so well received during the recent London Fashion Week'
Ib Jorgensen reached the ripe old age of 90 just a few months ago. Ib is a legend in Irish fashion. He was one of Ireland's most successful and acclaimed couturiers – or luxury apparel designers if you want to be more literal! – from the 1950s to the early 1990s. During the '90s, he elected to move on from the grind of creating new looks and collections every season, but he's still in business, operating a design gallery on Dublin's South Anne Street. What might seem extraordinary, given his age, is that Ib himself opens the shop in the morning and puts in a five-day working week there. 'It's no different to being 89!' Ib laughs. 'Everybody thinks I'm very old now, but a year ago they didn't. As soon as you're 90, too bad – you're gone! But I don't feel any different. 'I had a huge birthday party planned,' he says, 'but it was cancelled because of Storm Éowyn. I had booked the venue for 55 people, but the day before, they had to cancel it because they couldn't take responsibility, and it was an issue because of difficulties delivering the food, and so on. 'Several people had speeches prepared,' he adds. 'They said they could do it another time, and I appreciated that, but I decided that what was past was past. I'll have a small dinner party instead, at some point. I've always liked entertaining my friends. It's part of my way of life, and it's important to me.' Ib's decision to retire from the fashion industry in 1994 was provoked in part at least by the government of the day. 'The VAT rate went from 10% to 21%,' he recalls. 'That was why I ultimately closed. It's now 23%. It's almost a quarter of your income. But there were other complicating factors. 'You couldn't get young people into learn the trade,' he elaborates. 'All the younger people were leaving the sector to earn quick money elsewhere. And you couldn't blame them, because to train as a dress-maker took four years, and you weren't paid a lot of money. 'You were trained to come in with people like Sybil Connolly, Irene Gilbert and myself, who'd have maybe three or four people, so they learned every single thing and became good dress-makers. They were mainly women. If they got married and had children, they could extend their income by making clothes at home for people. It was an investment in their own time.' Ib Jorgensen. AR 'When I finished, I used to teach there in the evenings, and I also used to be an examiner of the clothes the students were making,' he recalls. 'I always used to tell the students that any of my criticisms were constructive, intended to help them, and I might say something like, 'I would have done this, and you might like to consider that the next time round'. It was, and is, amazing how much talent is going through the Grafton Academy. It has made an immense contribution to the industry here.' So much of what happens to us in life is an accident. Ib wanted to do architecture, but having come from Denmark as a teenager, when his family moved here, he didn't have the requisite Irish in his Leaving Certificate that was required to 'get in' to the course. He ended up going to the Grafton Academy instead. Does he ever regret not having done architecture? 'No, I don't regret it,' he says. 'You can't live on regret. But that Leaving Cert story is true. There were people in my family who could draw and paint, so that talent was in the blood, so to speak.' That door closed, it dawned on him that he might have a flair for fashion. 'My mother was a very well-dressed, smart woman,' he explains, 'but the design element came from my father's side of the family. His eldest brother was an architect whose son was a very well-known painter in Denmark and whose younger sister was a painter for Danish Royal porcelain. So, there was always talent there. My father could draw, too. And I could always draw and paint – at boarding school, I won a couple of things. So it was in my genes.' 'I think so, yes. Your genes are part of your very being, whether you like it or not!' 'Yes,' he laughs, 'on my father's side. They all died around 90 to 92, so I may have two years left! I don't mind, I'm ready to go. I've no problem with it. If I drop dead tomorrow, I'd be lucky. And I mean that honestly.' 'No.' 'Yes, I have. That would be the end of the journey.' 'I played a lot of tennis several times a week, and I used to do a lot of long walks. And I loved dancing!' he smiles. 'I never had a problem with weight. I've been about 11 stone for years. I seem to be able to eat what I like, but I've been sensible. I still play bridge. 'I played rugby when I was in school. I even played against Tony O'Reilly (the late, notable Irish businessman and rugby international). I knew him socially later on, and on one occasion I reminded him that I played rugby against him as a schoolboy, and he said, 'With who?' I said Morgan's School, and he remembered that it was a small, Protestant boarding school, with about 80 students. He was an amazing man. It was just sad the way it ended for him.' 'I think all that is great, but I also think it is now a very dangerous sport,' says Ib. 'I was talking to a very nice woman recently and I heard that her 20-year-old son had got such a bad concussion through rugby that he can't play again. At 20! It's become such a rough game.' Of course, being Danish, he must have a grá for soccer! 'I used to play in school before I came to Ireland when I was 15,' he explains. 'I could ski, as well. Even when I moved to Ireland I would go skiing with a small group of about five or six of friends, on holiday, twice a year.' Ib Jorgensen. AR Jorgensen was married twice, to the late Patricia Murray ('a very talented artist and designer' with whom he had two children, Lara and Isolin), and to Sonia Rogers. He established his own salon in his early twenties, at one point employing nearly 50 people, so the party lifestyle of sex, drugs and rock'n'roll, often associated with the international fashion scene, was never a priority for him. 'I was committed to what I was doing,' he states, 'and was very particular about how items were made. I mean, when I left the Grafton Academy, I knew how to cut a pattern. So I applied to a lovely ladies' shop (Nicholas O'Dwyer) in Suffolk Street, saying what I had done, and how I admired the shop, and the window was very beautiful. 'I got a very curt reply back saying, 'We don't employ men'. Around that time, I'd become an Irish citizen, as our family had been here five years, and my father had a very good solicitor who got it through promptly for me, as I wanted to be part of the NAIDA (National Agricultural and Industrial Development Association) fashion show, and you had to be an Irish citizen to do it. 'In any event, I took part in the fashion show, as did the shop I just mentioned, and I won second prize in the coat section and, lo and behold, the shop owner came and bought my coat for his shop! Apparently, the coat sold the same day it was put in the shop, so he asked me could I make another one. By then, I had a little workshop in Dame Street, so I said yes. 'I didn't really know much about couture-making, and that's why I wanted to work with him, so I made him another of that coat, and another – in the end, I made six! When he came back looking for another one, I said, 'I'm sorry, but I don't have time'. That was because my own little business had started doing well, and I had my own clients, and those ladies always gave me very good publicity and spread the word. 'Nicholas O'Dwyer then rang me up and said he'd like to take me to lunch, so we met and he offered me a job! He said he'd offer me 10 pounds a week, and I pushed it to 11. Young architects, for instance, were getting only five pounds a week at the time. 'A Jewish company in Dublin had closed down, and they had absolutely superb staff who used to make clothes for the Curragh and the Castle. Nicholas had got all those workers in – quite a cute move – so I learnt from them. I already knew about pattern-cutting, but by the time I left after two-and-a-half years, I had learnt about how to assemble beautiful clothes. 'Two people came with me from there and then, gradually, all his people came with me as they saw my business and reputation growing. Then, one day, he was bankrupt. He should have kept me, but he didn't. I think he subsequently moved to Australia…' Ib Jorgensen. AR There were some strange and exhilarating moments along the way. Ib was once part of a fashion show that took place on a jumbo jet… 'Yes,' he shrugs. 'It was mainly fashion and other media who were at it. There were some agents, too, and plenty of guests. About 10 designers, including me, were commissioned to make something, using a fabric I normally wouldn't use. But it was a great success, in that it got a lot of publicity at the time, which was the primary objective of it.' Among the famous people to wear Ib Jorgensen's designs were Helen Hayes, the American actress and first woman to win the coveted career EGOT (an Emmy, Grammy, Oscar and Tony), and Irish acting legend Siobhan McKenna. President Mary Robinson also wore Jorgensen creations while President of Ireland. 'Myself and Pat Crowley (designer) made her items for her tours abroad,' he explains. 'She had a very good figure and fitted into model's clothes. She has a lot of my clothes and she looks bloody good in them. You might send her five garments and you'd get two back, or something like that, and she, of course, got a discount because we were happy to make these items for her to wear in notable visits to places like Buckingham Palace. She was a good President. She was the first woman in the role, and was internationally recognised and accepted.' In 1975, and again in 1986, Jorgensen designed separate Aer Lingus uniforms for the all-female team of 'hostesses' or 'stewardesses', as they were known at the time. 'I found that very interesting,' he recalls. 'We used Magee fabrics. There was always a committee of about 12 or 14 girls, and I'd present sketches, and then they'd choose something, and I'd make a model outfit for it. I remember there was one young lady, and she questioned everything I did, and I eventually said to her, 'There's 14 of you here and I can't just design it for you!' But I was very honoured to design the uniforms.' He designed the first Irish Army Women's Service Corps uniform in 1980. 'That was another first for me. It came about as I'd already done the Aer Lingus uniforms, so one thing led to another.' It was unusual for them to ask a highly regarded couturier like yourself to do it. 'It was!' he smiles. 'And, in cases like that, I had to do a lot of research on the fabrics and styles of military uniforms, and what was traditional in terms of finding a new look, because you were restricted in the design element. Once I had created the pattern, and I had made the initial one for them and for the publicity shots, they then put it into production. It was lovely to be recognised, doing things like that.' Moving to London was perhaps his most exciting adventure. His designs were prominent in outlets like Harrods and Liberty in London, amongst other high-end outlets, and he had his own shop on Sloane Street. 'Anne Heseltine (wife of the Tory grandee Michael Heseltine) was a client, and then also a friend,' he recounts, 'and she walked into my shop one day and said, 'Would you be interested in doing a fashion show, in the Guildhall?' I said I'd be delighted. That really made my name in London, because she was on a board – there were about 20 of them – and there were up to 800 in the Guildhall. It was a breakthrough for me because I attracted a lot of those top, top people as clients. Of course, I stopped doing Harrods and the other outlets once I had my own shop there.' Ib Jorgensen. AR Jorgensen has never felt the temptation to move into high-street fashion, like Paul Costelloe, for instance, whose apparel is also available in shops like Dunnes Stores. 'No, but Paul has done very well with it. I like him, he's a nice guy,' he says. 'He's been a great success, in that he's done a top job there. I did have a secondary collection, a boutique collection, which was made for me here in Dublin, which was cut from my patterns and using my fabric. But I was never interested in going the direction Paul went.' 'You'd be influenced by so many things, films, exhibitions and shows,' he avers, 'and by whatever other people did, particularly what I'd see when I'd go to Paris, Rome and London – the V&A there was fantastic. In a way, everything is an influence. 'I liked Givenchy. I liked the simplicity. And Missoni. The person I admired most for his development of fashion was Cristóbal Balenciaga. It was quite extraordinary the way he could build the fabric like a house. Often, he'd create things without a design, which was quite extraordinary. Beautiful clothes. There was one time when he and Givenchy only showed their collections to one or two American buyers, and that was because designs were being copied overnight.' Balenciaga was the subject of an acclaimed Disney+ biographical series last year. And, of course, the legendary Hubert Givenchy, who died in France in 2018, aged 91, had a special connection with the late, great movie, fashion and style icon, Audrey Hepburn. 'As I remember it, after he had dressed her in one of her earlier films, she insisted that he design her clothes henceforth,' Ib says. 'The designs were very simple and they suited her –and how! Givenchy was well established before she started making films, but they also became great friends for life. They made some great films together.' Mention of Audrey Hepburn reminds me of the opening scene in Breakfast at Tiffany's, which sees her getting out of a taxi at 5am on Fifth Avenue, New York, carrying a paper bag, out of which she takes a takeaway coffee cup and a croissant. Incredibly, that was filmed in 1960. NEW YORK – OCTOBER 5: The movie 'Breakfast at Tiffany's', directed by Blake Edwards and based on the novel by Truman Capote. Seen here, Audrey Hepburn as Holly Golightly during the opening sequence, pausing in front of Tiffany's jewelry store in New York City. Initial theatrical release October 5, 1961. Screen capture. Paramount Pictures. (Photo by CBS via Getty Images) 'Yes, it was the shape of things to come. It's actually extraordinary how ahead they were with that scene. It's such a common thing now, everybody walking around with a takeaway coffee, and so on. Amazing.' 'I admired Irene Gilbert the most. She was a true couturier. She knew how to cut a pattern and drape a dress.' It was Thurles-born Gilbert who, in 1962, formed the Irish Haute Couture Group, with Jorgensen, Clodagh Phipps and Neillí Mulcahy. 'Interestingly, towards the end of her time in Dublin, she rang me up and asked me to meet her,' he says. 'So, I did, and she bought me a drink – I think I had a gin and tonic in those days, now it's vodka! – and she asked me straight: 'Will you buy my business?' 'So, I told her that I wouldn't have the cash to do so and I didn't need to buy it anyway, because my business was growing and I needed more workers as it was. She obviously thought she wouldn't lose out by selling to me, so it was a great compliment. I liked Irene. I don't think she ever sold it, I think she closed it. She'd just had enough.' Jorgensen recently encountered Clodagh Phipps, who was once based on South Anne Street, where the Ib Jorgensen Gallery is now located. 'Clodagh was a fine designer,' Ib says. 'She went into interior design in a big way in New York and has been very successful.' Ib Jorgensen still keeps an eye on the Irish fashion design sector. 'I listen to the news, of course, and it was good to see the Irish designers being so well received during the recent London Fashion Week. In terms of the international sector, what I find quite difficult is that so many of the big fashion houses have been bought over and don't do the clothes that they once did, but they have the famous brand name.' Of course, over Ib's long lifetime, there have been seismic social and technological changes in everyday communications, from computerisation to mobile phones. Phone boxes, it seems, are a thing of the past! 'Yes, indeed, and always being so available is a huge change in my time,' he says. 'That said, I have a mobile phone, but I don't like them! They've changed the way of living, because you can't go out without one. It's ridiculous! I'm not very good with them, but I have to do it. I don't have a landline at home anymore.' How did he deal with the Covid pandemic period and the lockdowns? 'That was shocking,' he admits, 'but I coped with it. I went for walks every day. The thing is, you couldn't fight it, so you just had to get on with things. One has to be positive in such circumstances.' For a period, Jorgensen opened a highly regarded fine art and design gallery in Molesworth St, Dublin, which moved location several times subsequently. Having retired from fashion in 1994, he then closed the gallery during the pandemic. 'I was tired of opening up in the morning, which was a factor at that time,' he explains. 'And, also, it's a fact that the auction houses are taking most of the custom, so you have to be on your toes. But I've come to the conclusion that it's good for you.' The Ib Jorgensen Gallery re-opened on South Anne St in 2024, with Jorgensen ever-present inside alongside his daughter Lara and mid-century European glass expert, Deirdre Foley Woods. The gallery specialises in '20th Century and Contemporary Art, both Irish and Continental, as well as Mid-Century Glass'. 'I decided to take part in a design show in the RDS and Deirdre helped me with that,' he recalls, 'and I liked the idea of coming back as I missed it. It's a very personal business, a relationship business, so that show encouraged me to come back. This shop in South Anne Street was available, so I signed up for a year. It's tiring, but I'm enjoying it. 'There are some artists I'm supporting in this gallery by showing their works here and selling them, and also other items I invest in myself. I don't admit to putting anything on the wall that I don't like!' Ib Jorgensen. AR Over Ib Jorgensen's 90 years, he has seen Ireland develop in many ways, not least the transition from an insular Catholic-dominated society to today's more open country. 'The thing is, Ireland has done well and I'm very happy to be living here,' he says. 'I think it's one of the safest places one could be in – unless you walk around Dublin city centre at midnight (a reference to a recent murder in South Anne St, near his gallery). But one has to be aware that violence can happen anywhere, and you have to look out for it. I respect Ireland. And I know it's up and down with the politics, and so on, but we've survived the ride. 'The readjustment that the Catholic Church has undergone here has been huge – and a very good thing. It was so dominant when I came to Ireland first that I recall being described as non-Catholic. We found that strange because in Denmark, you don't discuss religion, but here in Ireland, it was on top of everything. But that has disappeared now.' 'The world has changed drastically since Trump has come into power for a second time. He has more confidence, too,' he says. 'I think it was absolutely shocking the way two world powers (Russia and the US) were talking about another country (Ukraine). Shocking. That would not have happened under any other President. And what he has been saying about Gaza, building a 'Riviera of the Middle East'! He seems to be completely uncontrollable. 'He comes out with completely stupid, impractical, unworkable so-called 'solutions'. He is very, very destructive. I've been around a long time, and I don't remember anybody like him.' Ukrainians have an expression: 'he's like 'a monkey with a grenade'. 'That's a very good description. I like that!' he laughs. • Ib Jorgensen: A Fashion Retrospective is located in the National Museum of Ireland – Decorative Arts & History at Collins Barracks, in Dublin. Admission is free, check for opening hours. The Jorgensen Gallery is at 21a Anne Street South, Dublin 2.
The Irish Sun
35 minutes ago
- The Irish Sun
Love Island legend reveals he spent night with new islander Sophie Lee after meeting on night out
A LOVE Island legend has revealed he spent the night with new Islander Sophie Lee after meeting her on a night out. Advertisement 3 Sophie is one of the Love Island 2025 stars Credit: Instagram 3 Former Islander Anton has revealed how he spent the night in a hotel with her Credit: Instagram 3 Sophie works as an activist after suffering a freak fire breathing accident when she was 22 Credit: Instagram And Writing on Instagram, Anton, 30, said: 'Let's just say we didn't get much sleep… 'Last October, I was on a night out and bumped into one of my mates who happened to be with Sophie Lee. 'I already knew of Sophie through one of my friends, Joss, but we'd never properly spoken - until that night. We clicked straight away.' Advertisement More on Sophie Lee Sophie now works as an activist after The incident took place whilst And Anton confessed he was 'captivated' by Sophie's story. He continued: 'We ended up back at her hotel room… but not how you think. Advertisement Most read in Love Island Exclusive Exclusive Exclusive 'We genuinely talked all night. I was captivated by her story.' Praising Sophie for talking openly about her experience, he added: 'No filters. No ego. Love Island's New Star Fire Breather Sophie Lee's Shocking Injury Story 'Her message? Learn to love yourself - scars and all.' Anton isn't the only Advertisement She was previously in a relationship with Scottish hunk Asked if things were going well between them, Ouzy beamed: "It's going really well," prompting Sophie to chime in: "He's really kind, that's my favourite thing about him." Have YOU got a story or an amazing picture or video? Email and you could even get PAID Advertisement Love Island 2025 full lineup : A 29-year-old footballer with charm to spare. : A model and motivational speaker who has overcome adversity after suffering life-changing burns in an accident. : A 22-year-old Manchester-based model, ready to turn heads. Blu Chegini : A boxer with striking model looks, seeking love in the villa. : A payroll specialist from Southampton, looking for someone tall and stylish. : International business graduate with brains and ambition. : A gym enthusiast with a big heart. : A Londoner with celebrity connections, aiming to find someone funny or Northern. Ben Hullbra : A model ready to make waves. : An Irish actress already drawing comparisons to Maura Higgins. : A personal trainer and semi-pro footballer, following in his footballer father's footsteps. : A towering 6'5' personal trainer. : A 25-year-old Irish rugby pro Departures : : Axed after an arrest over a machete attack emerged. He was released with no further action taken and denies any wrongdoing.
Irish Examiner
42 minutes ago
- Irish Examiner
My Job: The partnerships powering Cork growing food festival
MY JOB Name: Niamh Murphy Occupation: Festival manager, Cork On A Fork Fest and MD of ETC the Events Tourism and Communications Agency Background: A Cork City Council festival run in partnership with Cork hospitality businesses and producers, the festival includes chef demos, workshops, farm visits, market tours and talks by artisan producers. Cork has long been a 'farm-to-fork' destination, leading the modern Irish speciality food movement for decades through a thriving network of artisan producers, supplying the iconic English Market and the restaurants that are a hallmark of the city's vibrant food scene. Cork On A Fork Fest, taking place August 13-17, is now firmly established as an economic driver for the city, bringing direct and indirect benefits to the hospitality and tourism sectors. Estimates indicate the festival generates hundreds of thousands of euros in spend through events, accommodation, dining, and shopping. Last year, 7,500 tickets were sold for various events, and the festival has seen a steadily increasing number of overseas visitors attending. 'What began in 2022 as a small pilot to support post-covid recovery in the hospitality and tourism sectors, and showcase the newly-pedestrianised streets and nighttime economy, has quickly evolved into a key fixture on the national food festival calendar,' explains Niamh Murphy. The Long Table on MacCurtain Street in Cork's Victorian Quarter was a shared dining event for 400 people which marked the start of the five day long Cork on a Fork food festival. 'The enthusiasm from the public has been immense, and the festival's reach continues to grow each year — both in terms of the number of events and its appeal to wider audiences, including international visitors. We've gone from 30 events in the first year to over 100 planned for 2025, and the feedback shows that people are hungry for unique experiences.' A city-wide, multi-day food festival involves extensive coordination across venues, suppliers, producers, sponsors, and stakeholders. The need to ensure quality and consistency across more than 100 events runs in tandem with considerations around accessibility, sustainability, affordability, and variety. 'Weather is always a wildcard in Ireland, especially for outdoor events, so flexibility is also key. Aligning the schedules of busy chefs, producers, and partners while delivering a diverse and cohesive programme takes months of behind-the-scenes planning.' The festival is a Cork City Council event managed by tourism officer Elmarie McCarthy and her team who partner with Niamh on the delivery and promotion of the festival. 'Like any growing festival, we could always do with more sponsors. Demand and ambition grow every year, so additional funding would help us expand further.' Niamh adds that partnerships are central to the success of the festival: 'This is a truly collaborative celebration of Cork's food culture, and it simply wouldn't be possible without the passion, creativity, and commitment of our local chefs, restaurants, producers, hoteliers, and tourism stakeholders. The festival thrives on the strong relationships between those who drive Cork's dynamic food scene — this fork-to-plate connection is at the heart of everything we do. 'There's incredible camaraderie, a real buzz in the air, and a shared pride in showcasing what Cork has to offer as the country's best region for food. As organisers, we see ourselves as facilitators — the programme is very much shaped by the food industry itself.' While the festival is a Cork City Council initiative, the support of key strategic partners including Fáilte Ireland, Pure Cork, Cork Airport, IHF Cork, Cork Business Association, the Irish Examiner, and RedFM help amplify the message and ensure the festival's long-term sustainability. Cork's historic food status been central in promoting the festival internationally. 'Cork's identity as a food destination dates back centuries. From its history as a 10th-century trading port to its current status as home to over 60% of Ireland's artisan producers, the city's food credentials are deep and genuine.' This authenticity resonates strongly with international audiences who are looking for immersive and meaningful travel experiences, she adds. 'Cork on a Fork provides a platform to showcase that story, from Atlantic seafood to spiced beef, artisan cheeses to tripe and drisheen. We're also actively working with Fáilte Ireland on a Food in Tourism plan and this event will be critical in their aim to position Cork as a Unesco World Region of Gastronomy. In an uncertain global climate, people are looking for experiences closer to home that are rich in culture and community. 'Cork on a Fork provides just that — a celebration of place, people, and produce. It draws overseas visitors, but it's just as much about locals reconnecting with their city in new ways and supporting local producers and restaurants. The programme is designed to be inclusive, with free events, family activities, and neighbourhood-based experiences that invite everyone to participate, regardless of background or budget.' In a crowded schedule where culture and music events across the country compete for potential audiences, the need for annual innovation is key. 'One of the festival's strengths is its evolving programme. While some much-loved events return annually, there is always space for new ideas — whether it's rooftop culinary tours, meet the producer experiences, immersive foraging walks, chef collaborations, or multi-cultural tastings. People love something new so every year we want to bring new experiences that reflect Cork's dynamic food scene and cultural diversity. This year we're seeing even more events focused on sustainability, storytelling, and behind-the-scenes access.' Always learning and looking outward while staying rooted in Cork's unique identity is the driver of Cork On A Fork success. 'International food festivals — from Waterford to Copenhagen — offer inspiration in terms of structure, innovation, and visitor experience. But what sets Cork On A Fork apart is the authenticity and accessibility of our food here,' she says. 'It's not about copying, it's about bringing the best ideas home and interpreting them through a Cork lens. The collaborative energy in this city makes it possible to deliver something very special.' The festival creates a platform to highlight Cork's rich culinary diversity, from long-standing family-run businesses to new international food influences — bringing together different cultures, spotlighting emerging food trends, and celebrating the chefs and restaurateurs keeping Cork's food scene innovative and inclusive. Events such as the VQ Shared Table on MacCurtain St count as one of the festival's more notable attractions. It is added to by the city's status as a walkable environment and buzzing centre — another factor underpinning its appeal for festival-goers. 'You can stroll from a cooking demo to a pop-up feast, explore the English Market, join a food trail, and finish your evening with live music and late-night bites - all within a short distance. This ease of movement enhances the experience and makes it perfect for immersive, multi-stop itineraries. It's also great for sustainability and creates a more vibrant, animated city centre.'
