Interview with THE DORF, a German design and culture magazine.
The article was published in German, and below is the full interview in its original English.
Please tell us a bit about yourself and your label: When did you start it, how would you describe it, and what kind of products do you offer?
I’ve been working as a print designer for nearly two decades and spent years designing stationery in London. After returning to Ireland, I set up Pawpear in the summer of 2022 to bring to fruition a lifelong fascination with paper (Pawpear is a phonetic rendering of the Irish word for paper – “páipéar”). A handwritten card delivers meaning and sparks connection, and the world needs more of all that. So, we design and curate vibrant stationery bursting with colour and imbued with Irish spirit. Each piece is inspired by a fragment of Ireland’s beauty that has captivated us, be it a wildflower, a landscape, or a slice of history. The products include greeting card boxes, writing sets and prints, and we collaborate on exclusive collections with global brands such as Guinness.
What makes your label special? Is there something that makes your designs truly unique?
What sets Pawpear apart is its distinctive Irish-inspired designs that harness the power of colour to evoke, uplift and inspire. The designs reimagine our ancient landscapes and unique culture and heritage through distinctive shapes and bold colour. In essence, Pawpear is a love letter to Ireland with products that resonate both visually and emotionally.
How does tradition influence your work? Are there elements of Irish craftsmanship or culture that inspire your designs?
The designs are fully inspired by Ireland’s culture, and a celebration of Irish heritage. More than beautiful illustrations, they represent the soul of Ireland – its history, mythology and the stories passed down through generations. The stationery products tap into something human and increasingly rare: the act of writing by hand. Put simply – with instant messaging the norm, the gesture of writing a personal letter has become almost revolutionary. When everything moves at lightning speed, a handwritten letter slows time. It becomes a tangible keepsake, a simple but powerful way to connect more meaningfully.
Which international influences shape your design, and how do you merge them with your own creative identity?
I’m particularly drawn to the expressive power of colour, inspired by artists like Mark Rothko, Bridget Riley and Josef Albers (Homage to the Square) whose work isn’t just about what you see, but what you feel. Their ability to create atmosphere and emotion through slight key changes or bold clashes of colour has profoundly shaped how I approach design.
Scandinavian and Japanese aesthetics also influence my work – cultures that embrace bold simplicity, allowing colour and composition to take centre stage. Travel, too, has played a role, exposing me to diverse palettes, textures, and the way different cultures celebrate paper and print.
How would you define Irish design – does it have a distinct aesthetic or philosophy? In your opinion, what does Irish design stand for?
Irish design is a fusion of the old and the new – deeply rooted in heritage yet constantly evolving. It has a raw, organic energy, reflecting the untamed beauty of the landscape and a rich tradition of storytelling and craftsmanship. In textiles, ceramics or print, there’s a sense of soul in Irish design – it carries emotion, narrative and (always) a connection to the land. Our native language, Gaeilge, is deeply woven into this connection – the words and the landscape are intrinsically linked. This poetic sensibility finds its way into Irish design: it’s not just about how something looks, but how it feels, the story it tells, and the connection it creates.
Is there an Irish designer or label you particularly admire? If so, why?
There are so many incredible Irish designers and labels doing inspiring work, but one that stands out is Superfolk (superfolk.com). Their approach to design is deeply rooted in the Irish landscape, capturing nature’s beauty in a way that feels both contemporary and timeless. Their use of colour, texture, and minimal forms resonates with me, as does their commitment to craftsmanship and sustainability.
I also admire Inis Meáin (inismeain.ie) for the way they honour heritage through textile design. There’s an authenticity and deep respect for the past in everything they do.
Both brands, in their own way, highlight what makes Irish design so special: a deep connection to place, material, and storytelling.
Could you share three of your favourite places in Dublin / Ireland with our readers? Whether it's restaurants, bars, or special spots – where do you love to go, and what shouldn't our readers miss?
Achill Island, Co. Mayo – There’s nowhere quite like Achill. Stay near Dugort Beach or one of the quiet bays and just take it all in – the wild Atlantic, the dramatic skies, the sheer sense of space. A visit to Red Fox Press is always worth it, their hand-printed books are something special. Later, head to The Valley House for a pint by the turf fire, where you’ll often find a few locals playing a trad session.
Baltimore, Co. Cork – A small fishing village with so much to see. There’s something about watching the boats in the harbour, the sound of the gulls, the sea air. If you’re there, order the seafood platter at La Jolie Brise – outstanding and exactly what you want after a day by the water.
The Skelligs, Co. Kerry – A place that stays with you. Make the trip out to Skellig Michael and explore it on foot, there’s an almost otherworldly quality to the islands. If you visit in summer (highly recommended), you’ll see over 8,000 puffins nesting on the cliffs. Climb the ancient stone steps that lead to the 6th-century beehive huts, where monks once lived in isolation at the edge of the world. The history, the sweeping Atlantic views, the gannets circling overhead – it’s one of those places that reminds you how small you are, in the best possible way.