Nine creative and whimsical ways to add nature themes to your summer wardrobe
Lemons, butterflies, fish and jungle flora are setting the prevailing print mood with the help of aquatic motifs. Think freewheeling and fun; pure creative whimsy – as it should be. Now, let's get into it.
Looking for a wardrobe wonder? Irish designer Georgina O'Hanlon's 'Wild Child' silk scarf is just that. Featuring hand-drawn illustrations inspired childhood trips with her mother to County Clare, this bright botanical multitasker can be worn as a bandana, top, head wrap or necktie. Elegant and endlessly practical.
From comely to conversational, Scandi print purveyors at Stine Goya win big with 'Lemons on a Plate': a still-life pattern rendered in a Tencel-blend in a dress and separates, both with a relaxed boxy fit.
Equally laidback and oh-so-lovely, Dubai-based brand WhiteHello renders colourful tropical prints with fluid trousers and kimono wrap tops in skin-friendly silk. Your first-class travel co-ords await you.
Should you prefer the aesthetic to the air miles, Farm Rio celebrates all things Brazilian in their serotonin-soaked collections. Scarf-tied basket bags, featuring parrots, fish and a Copacabana tribute make playful arm candy—perfect for holidays.
Zara's high impact coral necklace pairing also punches well above its high street weight. Wear with a strapless dress while dining beachside or with a crisp white shirt and trouser pairing on home turf.
Prefer something low-key? Try Essentiel Antwerp's rose mesh overlay skirt with a t-shirt and kitten heels. You'll thank me later.
Dust off those Pinterest boards, folks. It's going to be an interesting season.
'Lemons on a plate' midi dress and shirt
'Lemons on a plate' midi dress, €395, and shirt €255, Stine Goya
Stine Goya, €395 and €255
Short sleeve 'Leo' jacket
Short sleeve 'Leo' jacket, WhiteHello, €264
WhiteHello, €264
'Wild Child' silk scarf
'Wild Child' silk scarf, Georgina O'Hanlon Illustration, €105
Georgina O'Hanlon Illustration, €105
'Jacky' trousers
'Jacky' parrots trousers, WhiteHello, €218
WhiteHello, €218
Pack of two coral necklaces with resin
Pack of 2 coral necklaces with resin, Zara, €39.95
Zara, €39.95
Stine Goya 'Spring Mimosa' midi dress
Stine Goya midi dress, Zalando, €270
Zalando, €270
Floral mesh overlay skirt
Floral mesh overlay skirt, Essentiel Antwerp, €245
Essentiel Antwerp, €245
Ruffle floral mini dress
Ruffle floral mini dress, & Other Stories, €129
& Other Stories, €129
Farm Rio scarf-detail printed basket bag
Farm Rio scarf-detail printed basket bag, MyTheresa, €275
MyTheresa, €275
Read More
Nine essential capsule wardrobe pieces to pack in your carry-on this summer
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Irish Examiner
2 hours ago
- Irish Examiner
Five For Your Radar: Leeside DJs, Freakier Friday, Kilkenny Arts
The Weir Olympia Theatre, Dublin, Friday, August 8, to Saturday, September 6 An all-star cast features in the Conor McPherson-directed play The Weir. Brendan Gleeson is joined by a cast that includes Owen McDonnell, Seán McGinley,and Tom Vaughan-Lawlor (Love/Hate). The makers say The Weir is a testament to the need for human connection, the possibility of hope, and the enduring power of storytelling. DJs: Magic Nights by the Lee Cork Rowing Club, Friday, August 8, to Sunday, August 17 Over the next two weekends, the riverside venue will be transformed into a one-of-a-kind pop-up nightclub, blending the spirit of underground club culture with the charm of a summer evening on the River Lee. Presented by the Good Room, responsible for Live at St Luke's, they've got some great DJs lined up, including, this weekend, Hot Chip's Alexis Taylor, Shane Johnson (Fish Go Deep) and Martin Roche (Get Down Edits), and legendary local clubnight Sunday Times. Exhibition: Dlúthpháirtíocht Laneway Gallery, Shandon, Cork, Until Sunday, August 17 The poster for Dlúthpháirtíocht. Dlúthpháirtíocht, which means Solidarity in Irish, is a nonprofit, multidisciplinary art collective consisting of Irish and Palestinian artists. Exhibitions take place in London, Cork, Dublin, and Belfast, with funds donated to Dignity for Palestine, a charity based in Alhassiana in Gaza, which was set up by Dr Musallam Abukhalil to establish an emergency food assistance programme. The project includes prominent names in contemporary Irish art as well as Palestinian artists. Festival: Kilkenny Arts Festival Various venues, Until Sunday, August 17 Muireann Ryan and John Doran pictured at Kilkenny Castle ahead of Kilkenny Arts Festival 2025, opening this Thursday. Photograph by Dylan Vaughan The 52nd Kilkenny Arts Festival is under way, with its usual mix of extensive multidisciplinary arts events, from literature to theatre to music. Among the highlights are Light Up the Castle, Because You're Free, an audio-visual show projected onto the walls of Kilkenny Castle; What Are You Afraid Of? by Peter Hanly, in which Hanly explores a years-long crippling bout of stage fright; and, on Friday night, the opera Custom of the Coast, by Indian-American composer Kamala Sankaram, with lyrics from Pulitzer Prize-winning poet Paul Muldoon. Cinema: Freakier Friday General release, Friday, August 8 Lindsay Lohan and Jamie Lee Curtis return as Tess and Anna some 22 years after enduring an identity crisis in the original film Freaky Friday. Anna now has a daughter and a soon-to-be stepdaughter. As they navigate the challenges that come when two families merge, Tess and Anna discover that lightning might strike twice.
Irish Examiner
3 hours ago
- Irish Examiner
'We're gonna need a bigger cinema': 50 years on from the release of Jaws
It was the troubled movie production that ran months over schedule and by more than twice its budget. It didn't help that problems with its mechanical sharks led to the shooting of Jaws being dubbed 'Flaws' by some crew members. But a young filmmaker named Steven Spielberg, aged 27 and with just one other movie credit to his name, took the shortcomings that plagued his shark thriller and turned them into a movie-making miracle. From its iconic 'dum dum' score by John Williams, to its distinct and colourful characters, to its sense of tension and toying with its audience, Jaws became the most successful movie of all time when it was released in 1975. It set Spielberg on course to become one of the most celebrated filmmakers ever as Jaws became a punctuation point in the history of cinema. On August 29, the tale of a great white shark who plagued the town of Amity will return to Irish cinemas to mark its 50th anniversary. Commonly regarded as the first summer blockbuster and based on Peter Benchley's bestselling novel, Jaws sees the small community turned to chaos when a shark makes its home offshore, munching his way through the local and tourist population. Police chief Brody (Roy Scheider) joins forces with a marine biologist (Richard Dreyfuss) and a shark hunter (Robert Shaw) to find the deadly predator. It shouldn't have worked out this way. On a troubled production that ran massively over budget amid numerous issues, the three mechanical sharks named Bruce would frequently break down. An early suggestion that a live great white would be trained for the film had long been dismissed and shelved, but Bruce's mechanical challenges would frequently delay production. Spielberg's decision to bring authenticity by filming in open waters also proved a nightmare. Seasickness plagued the cast and crew, the unpredictable weather was a continuity challenge, and other boats not connected to the film would drift into shots. The advertisement for Jaws at the Capitol cinema in Cork in the Evening Echo in March 1976. Stressed but determined, Spielberg turned to the growing movie-making skills and instincts that would later endear him to worldwide audiences through films including Close Encounters, ET and Saving Private Ryan. It was a massive gamble that somehow worked, says Dr Barry Monahan, senior lecturer in the Department of Film and Screen Media at UCC. 'Some people say, if the shark had worked, it would have been a hopeless film, because it was the fact that we couldn't see it that left it to the imagination,' says Monahan. 'Without that footage, the suggestion of what the terror was was far more potent than what it would have been if we'd seen the rubber shark. That might be true, but still you had to know where to cut, and still you had to know how much of that you could get away with without satisfying some itch that the audience has.' What the young filmmaker brought to the movie, he adds, was an innate gift for knowing how to engage an audience. 'He had a sense of story. Like every great storyteller, he could put himself in the audience's shoes and know what the audience was hoping to see next. And once you're there, you're on to a winner. If you know what your spectator wants to see next, you can either give it to them, or you can deny them that, and they are eating out of your hands, depending on which of those, the postponement of satisfaction or the delivery of a satisfaction, keeps them enticed enough.' Instead of disaster, the film that ran more than 100 days and more than twice the budget over its production schedule resonated massively with audiences - and still feels fresh as its 50th anniversary release date in Irish cinemas approaches. Spielberg, aided and abetted by the brilliant work of film editor Verna Fields and the cast and production team, pulled the challenging production from the jaws of defeat and used their skills to build a sense of intensity and tension that still works on screen today. Leaning into the playbook of filmmakers like Alfred Hitchcock while bringing their own creativity to the table, the filmmakers used clever editing and strong performances to deliver a true original, spooking audiences with glimpses of a shark fin in the water. 'They didn't get the shots they needed on a day-by-day basis,' says Monahan, adding that Fields' collaboration with Spielberg is one of the film's great victories. 'Everything she did, everything that's praised about that film, from the music, which follows an editing rhythm, from the sequential development of characters that is entirely about the editing development, from the the use of shock-factor shots and the development of tension, a la Hitchcock, all of that was Verna Fields.' Steven Spielberg had plenty teething problems during the making of Jaws. (Photo by Evening Standard/) Released in US cinemas in June 1975, Jaws was in uncharted waters in a world where the summer blockbuster hadn't yet become a trend with audiences. But Universal Pictures pushed awareness of the film through a robust marketing campaign and gave Jaws a wide release, allowing audiences to recommend it through word of mouth. Peppered with great one-liners including 'you're gonna need a bigger boat' and 'you open the beaches on the 4th of July, it's like ringing the dinner bell for Christ's sakes', the movie started resonating with film fans as soon as it hit the big screen. Back in the days when film companies had to physically transport film reels across the Atlantic, the blockbuster finally made its way to Cork in March 1976 when it opened at the Capitol cinema. Jaws captured the public zeitgeist and became the biggest film in box-office history, taking an enormous $260 million on its initial release. It made studios realise that an event movie could capture a wide audience, and the summer blockbuster was born. 'One of the big things that the blockbusters brought back, that the young directors like Scorsese and Coppola and Spielberg and Lucas started peddling, was the thrill and the fun,' observes Monahan. 'People would come out of the cinema and tell people that this was worth seeing for the right kind of reasons, with the right kind of enthusiasm, and that's what shaped the things that we would later call blockbusters as we moved into the late '70s and '80s.' Speaking in a new documentary for National Geographic called Jaws@50: The Definitive Inside Story, Spielberg still recalls the sense of stress he felt during the production. 'We didn't have the words PTSD in those days, and I had consistent nightmares about directing Jaws for years afterwards. It was, logistically, I think the most difficult movie I think I'll ever make,' he says. But seeing how it still enthrals audiences 50 years later, he spoke of his delight at the public response at the documentary's premiere. 'Fifty years after its initial release, making Jaws remains a seminal experience for every single one of us, and five decades has done nothing to dim the memories of what remains one of the most overwhelming, exciting, terrifying and rewarding experiences of my entire career.' Jaws returns to Irish cinemas on August 29
Irish Daily Mirror
3 hours ago
- Irish Daily Mirror
'Far right' festival set for Leitrim community centre moved after open letter
A controversial 'far right' festival set for a Leitrim community centre will no longer take place at the venue following an open letter signed by hundreds of Irish artists including Kneecap and Christy Moore. Mise Éire Festival was set to take place on August 23 at the Mayflower Community Centre in Drumshanbo, Co. Leitrim, featuring 'live music, talks and workshops celebrating Irish culture, heritage and shared values'. One of the panel discussions is titled Echos of Éire, learning from Ireland's Past to Shape a Resilient Future from figures including far right writer John Waters, Brehon Academy founder Kevin Flanagan and others. But Mayflower Community Centre in Drumshanbo has since informed the public that the event would not be taking place at the centre due to terms and conditions not being complied with'. They wrote: 'On behalf of Mayflower Community Centre CLG we regretfully wish to inform the public that the upcoming 'Mise Éire' festival due to be held on 23 August 2025 will NOT be hosted at the Mayflower Community Centre. 'This is due to terms and conditions not being complied with. We Apologise for any inconvenience caused.' Irish rap band Kneecap perform at the West Holts stage on the fourth day of the Glastonbury festival at Worthy Farm in the village of Pilton in Somerset, south-west England (Image: Photo by OLI SCARFF/AFP via Getty Images) This follows an open letter signed by around 600 artists, musicians and arts workers including The Mary Wallopers, Chris O'Dowd, Fontaines D.C., Frances Black, Stephen Rea and more being sent to the community centre calling on them to cancel the 'far right' festival. The letter read: 'The Mayflower Community Centre in Drumshanbo has a longstanding and rich tradition of hosting vibrant, uplifting, diverse and inclusive cultural events. 'Musicians and artists, past and present, from the area, from across the country and indeed from countries and cultures from across the world, have passed through the doors of the Mayflower and contributed to this rich heritage. 'If it is permitted to go ahead, we believe the far-right 'Mise Éire Festival' will tarnish the proud history of the Mayflower as a venue that has served to bring people together from all backgrounds and as a safe and inclusive cultural space for the community, for local schoolchildren and for all visitors to the area. 'We artists, arts workers and musicians thus call on the committee of the Mayflower Community Centre to cancel this divisive event which is planned to take place there on August 23'. Grian Chatten and his band Fontaines D.C. perform on stage in Rome (Image: Valeria Magri/SOPA Images/LightRocket via Getty Images) In an interview with Shannonside News on Thursday, one of the festival's organiser Stephen Kerr explained that the festival would still be going ahead in Mayo, just outside Castlebar. He said the 'music and culture' festival would see 'talks and music all day long in three different areas.' Subscribe to our newsletter for the latest news from the Irish Mirror direct to your inbox: Sign up here.
