As the Irish Olympic team marches at the inaugural ceremony on Paris’s Seine on July 26th, it will be a moment of great pride for the athletes as well as their costume designer, a young Dublin woman, based in New York. Laura Weber, a Dublin native working out of New York, has spent over three years meticulously crafting each piece of the athletes’ attires, having won the contract for the project.
Weber’s aesthetic creations, amounting to around 2,000 pieces, cater to athletes and selected officials for both the opening and closing ceremonies. The collection not only aims to honour the athletes but to also represent Ireland’s influence on fashion design in a city renowned for its sartorial flair.
With the 2024 Olympics marking a century since Ireland’s debut as an independent state in the Olympic Games – a historical event that also occurred in Paris – Weber is committed to showcasing the modern spirit of Ireland. Her goal is to challenge the norm and elevate the image of Irish athletes with her designs.
Weber’s design journey started in Rathfarnham during her childhood, leading her to study at the National College of Art and Design in Dublin. Her passion for intricate embroidery and enhancement work paved her way into the fashion industry, earning her summer positions at London Fashion Week for several years. She then moved to New York in 2013, at 22, to work in the garment district, despite not having connections and not speaking Italian or French.
Making her mark in New York fashion was an uphill task, and Weber isn’t sure if she would’ve taken that route knowing the challenges. Yet, she holds no regrets. She immersed herself entirely into the garment industry and worked hard to expand her knowledge. Her unparalleled commitment eventually earned her a set of keys to her workplace for her round-the-clock dedication. This quest for knowledge and improvement even led her to spend her lunch breaks learning how different machines and computers function, enhancing her skills.
Weber established her own venture, LW Pearl, in October 2019, following a growing reputation for her skill in embroidery and adornment within the fashion industry. Although her initial operations from her flat lacked a detailed business strategy, there was no shortage of work available. Her husband suggested that she should have her own workspace due to the machinery and daily deliveries crowding their home, so she moved into a studio. Despite the onset of Covid-19, Weber was able to keep the business afloat.
In late 2020, a significant opportunity arose when designer Gabriela Hearst approached Weber to collaborate on the inaugural ensemble for the First Lady, Jill Biden. Weber and her team meticulously embellished Hearst’s dress, coat, and mask with intricate patterns, including a unique bloom representative of each US state and territory – a task requiring weeks of dedication. The publicity from this esteemed commission led to a boost in Weber’s public notoriety, and her enterprise has flourished.
Weber’s clients include distinguished figures like Rhianna, Kaia Gerber and Lily Aldridge, as well as designers such as Marc Jacobs, Proenza Schouler and Thom Browne. Likewise, she plays an active role in New York’s design circle. As a fellow of the Tory Burch Foundation, she engages with a community of enthusiastic entrepreneurs from various sectors and collaborates with the Garment District Coalition to advocate for artisan businesses and local manufacturers. She’s also a member of an Irish-founded group, Women with Ambition.
After meeting her spouse, Joseph, in the industry, they wedded six years prior. They lease a flat in the Garment District, closely situated to her studio, which she admits is both an advantage and a drawback because it often lures her into working late. While she admits her work often engulfs her life, she appreciates visiting art museums such as the Met, Guggenheim, and Whitney in her leisure time. She also prides herself on having a like-minded circle of supportive friends in her field.
The sense of dedication and ambition in this place is truly extraordinary. An I don’t believe I’ve ever mingled with such a multitude of industrious individuals as I have encountered here. One can find inspiration and prospects at every turn. Despite this, the fashion industry is not as dazzling as depicted in cinema. It’s demanding, not suitable for the faint of heart, and can lead to burnout due to the high demands of the job.
Whenever her commitments permit, she journeys home to Ireland approximately thrice each year. The recent decision by her sister Julie to relocate to New York to pursue a career in filmmaking has indeed been advantageous in maintaining familial bonds.
Even though she relishes the vibrancy and vigor of life in New York, Weber feels nostalgia for the laid-back and self-effacing attitudes of the Irish. “That and the full English breakfasts,” she mentions additionally.