TheCity

Author: Peace Okolo

  • ‘Rome wasn’t built in a day’: Emily O’Donnell on fashion, TV, and her rise to the spotlight  

    ‘Rome wasn’t built in a day’: Emily O’Donnell on fashion, TV, and her rise to the spotlight  

    Award-winning stylist and fashion broadcaster Emily O’Donnell reflects on the hard work, persistence, and passion that shaped her path in fashion and Irish television.  

    By Peace Okolo

    When Emily O’Donnell was announced as Best Celebrity Stylist at the Gossies 2026 award show, her reaction was anything but rehearsed. 

    “I was genuinely speechless,” she said. “I rarely am.” 

    For someone who has spent over a decade in front of the camera, that moment was refreshingly human. 

    “I think this award meant so much because it was unexpected,” she said. 

    “I was just really grateful to win it and to stand there on the stage in the RDS is just a moment I’ll never forget.” 

    This was an unfiltered moment in a career that mostly looks effortless from the outside, but is built on years of uncertainty, persistence, and behind-the-scenes work that most people never see. 

    “Rome wasn’t built in a day,” she said.  

    Emily O’Donnell at the Gossies 2026 Award. Photo credit: Instagram 

    Now a familiar face on Irish television, Emily’s journey did not start in front of the camera, but in lecture halls and corporate offices. 

    “I started off doing a business degree and then a master’s in PR,” she said.

    “But even then, I always gravitated towards fashion, but I didn’t know how to turn that into a career at the time.” 

    Armed with a business degree and a master’s degree in public relations, she initially followed what she describes as the “predictable” route into corporate PR.  

    But it didn’t take long for her to realize it wasn’t where she belonged. 

    “I was using the degree and the master’s that I had, you know, worked really hard for, but I just felt I wasn’t creatively fulfilled,” she said.  

    “I didn’t want to spend the next 40 years of my life staring at a computer.” 

    This realisation marked a turning point in her career, where she decided to explore styling, a role that wasn’t widely understood in Ireland at the time.  

    “At that stage, people didn’t really know what a stylist was,” she said. “This was many years ago in Ireland, where there wasn’t as much opportunity in the creative fields for women to a certain extent.” 

    Emily O’Donnell in a live television studio. Photo credit: Instagram 

    Emily’s early career was defined by taking every opportunity she could find.

    From writing for emerging online fashion platforms to working behind the scenes on shoots, she slowly combined her interests in fashion, media, and storytelling. 

    Instead of waiting for the perfect opportunity, she started where she could – assisting stylists, taking courses, and saying yes to anything that gave her experience.  

    “I don’t know anyone who works in television who just walked in and sat down on the stool or the couch and started presenting at, like, top level,” she said.  

    “Everyone has made coffee, carried equipment, or assisted in shoots. You learn every part of the business from the ground up.” 

    Then came the opportunity that would eventually change everything.  

    Emily got a call from a producer and was asked to take part in a television pilot, to which she said yes, even though she wasn’t fully sure what to expect. 

    “It was a pilot show for RTE about a cultural exchange between two generations. That show ended up winning an IFTA (Irish Film & Television Award) in 2008 for Best Reality Program,” she said.  

    “That’s when a producer told me I had the ‘gift of the gab’,” she said. 

    “But she said, to become a presenter, you need to be a presenter of something.” 

    For her, that “something” was always going to be fashion.  

    What followed was another pivot in her journey. She went back to education, this time to study television production and presentation, while friends around her settled into more traditional life paths. 

    “At the time, I was wondering, is this ever going to pay off?” she said.

    “But now that I look back, I feel I was being guided in the right direction all the time, even though it was a longer road, it was the road to where I was meant to be.”  

    That moment marked the beginning of her transition into live television and broadcasting. 

    After completing professional training in TV production and presentation, Emily began combining freelance styling with media work, eventually landing a role on a regional TV show that would run weekly for over two years. 

    “I got a call from someone in the business about a new station called Irish TV. They were looking for presenters and asked if I could meet them at Johnny Fox’s,” she said.  

    “Now, my mom, I think, thought I was on my way to get murdered at this point.” 

    But determined to chase her passion, she went anyway.

    Paired with a cameraman and director, she was tasked with producing and presenting a pilot about County Wicklow.   

    “They basically said, if the pilot is good, you’ve got the gig. If not, that’s it.” 

    The pilot was a huge success.  

    “For the next two and a half years, we had a weekly show at seven o’clock every Sunday,” she said.

    “That was the moment I realized I could actually do this full time.”  

    She created, produced, and presented “The Hat Show Fashion Series” and co-produced “Wicklow County Matters,” both of which aired on Sky Channel 191 from 2014-2017.  

    The Hat show series was so well-received that the Irish Times named it one of their Top TV Shows of the Year in 2016. 

    Emily’s persistence eventually paid off when she secured another role as a Fashion Broadcaster with Virgin Media Television, a milestone she had been working towards for years. 

    “I had sent in so many showreels before that,” she laughed. “Some of them were so bad. But I was determined.” 

    Throughout her career, Emily has remained a strong advocate for Irish designers by using her platform to spotlight emerging talent. 

    “Some designers don’t get seen unless someone gives them that opportunity,” she said.

    “One post or one TV feature can completely change their career.” 

    She recalls working with a Ukrainian designer whose work gained major attention after being featured on television. 

    “Her bags ended up in Vogue,” she said. “That’s the impact visibility can have.”  

    “Any time I get the chance to help or promote an Irish brand, I always try to do it because I want to give something back and help, particularly women in the fashion industry.” 

    While her job may appear glamorous on screen, Emily highlighted the realities behind working in the industry, particularly its instability. 

    “It’s not a career where you just walk into a permanent job,” she said. “You have to be comfortable with uncertainty.” 

    She talked about one of the most challenging periods of her career during the COVID-19 pandemic, when retailers were closed and productions halted, forcing her to adapt quickly.  

    “I would say that was the most terrifying time because before that, I felt I was sort of getting to the peak of my career, and things were so busy, and for all that work to just drop off was terrifying and challenging,” she said. 

    For those hoping to follow a similar path, Emily’s advice is simple: be patient, consistent, and self-aware. 

    “Every single thing you do leads to the next thing,” she said. “Even the small opportunities matter.” 

    She also stresses the importance of self-promotion: “If people don’t know what you can do, they can’t give you opportunities,” she said.

    “Blow your own trumpet, essentially.” 

    Looking back, Emily sees her journey not as a linear path, but as a series of stepping stones that led her exactly where she needed to be. 

    “Rome wasn’t built in a day,” she said. “But if you keep going, you’ll get there.” 

    More than a decade into her career, Emily O’Donnell’s journey is still evolving, but if there’s one thing her story makes clear, it’s that success in creative industries rarely happens overnight. 

    Instead, it’s built in layers; through resilience, perseverance, and the willingness to keep going, even when the path isn’t clear.  

  • The ‘Vinted Effect’ in Ireland’s Thrift Economy 

    The ‘Vinted Effect’ in Ireland’s Thrift Economy 

    The rapid growth in resale platforms shows a shift in how young Irish consumers shop, as rising living costs accelerate a boom in Dublin’s thrift economy. 

    By Peace Okolo

    As inflation and the high cost of living continue to shape consumers’ spending habits, second-hand fashion has emerged as one of the fastest growing retail businesses among young consumers in Dublin.  

    Globally, the second-hand apparel market is projected to reach $350 billion by 2028, growing three times faster than the overall apparel market, according to the ThredUp 2024 Resale Report. 

    Recent research by PayPal also shows that over 780,000 adults purchased second-hand clothes in a single year, totaling more than €61 million, with Gen Z making up nearly half of this group. 

    “I love shopping secondhand fashion because a lot of the items are vintage, so you’re unlikely to look the same as everyone else,” said Sasha Robinson (20), from Dublin.  

    The clothing rack in a thrift store. Photo credit: Peace Okolo 

    Second-hand shops and online resale platforms like Vinted and Depop are expanding at a faster rate than conventional clothing retailers, and this growth is driven largely by Gen Z buyers. 

    Dublin college student Erin Murray said she initially joined the platform to find unique pieces at affordable prices. 

    “I started using Vinted about a year ago because I’m always looking for cool, unique clothes,” she said. “I love fashion, but as a broke college student it has to be done on a budget.”  

    Since launching into European markets, including Ireland, Vinted has seen an accelerated growth in consumer engagement and activity.  

    In 2024, the online shopping platform reported a 36% increase in global revenue (€813.4 million) and a 330% jump in net profit.  

    The company’s expansion into markets such as Ireland, Croatia, and Greece was cited as a key factor in this growth.  

    According to Vinted’s latest EU filings as of 31 January 2026, the platform had an estimated 29.3 million monthly active users across Europe, including countries like; France, the Netherlands, Spain, Italy, Portugal, Austria, Germany, Belgium, and Luxembourg.  

    The app lets people buy and sell second-hand items directly with each other, creating a large marketplace network. 

    “I sell on Vinted because my income is too small, and I buy on Vinted because I can’t afford to buy new,” Murray said. “It feels like the price of everything just keeps going up.” 

    Many young people in Dublin are now using these platforms not just to clear out their wardrobes, but as a way to manage the rising cost of living. 

    Kala Akinniranye, 19, said the rising cost of living has forced her to rethink how much she spends on clothing. 

    “The ads on Vinted were really enticing, the whole ‘get rid of clutter’ idea. It was well marketed,” she said. 

    However, affordability remains the main factor behind her interest in second-hand shopping. 

    “It’s more sustainable, but it’s also cheaper,” she said. “In this current economy, I can either buy clothes or buy food.” 

    She added that resale and thrift fashion have become normalized among her peers. 

    “All my friends use Vinted or Depop. Poverty is touching everybody right now.” 

    Holly O’Donnell, like many young consumers in Dublin, said the rising cost of living has increased how often she uses resale platforms. 

    “Whenever I want to buy something, I check Vinted first because it’s nearly always cheaper,” she said, adding that she buys or sells around ten items a month.  

    For many, resale platforms are not just about decluttering; they have become a side hustle. 

    Thrift store manager, Siobhan Murphy, 34, from Dublin’s Temple Bar, said: 

    “We’ve definitely noticed more young customers coming in who are curious about resale and thrifting. They buy from us, sell online, and sometimes come back looking for new stock to flip. It’s a completely different kind of shopping now.” 

    According to a 2025 PwC circular fashion survey, around 40 % of Gen Z and 28 % of millennials surveyed have bought second-hand fashion, and 41 % of Gen Z have also sold thrift items.  

    Emma Okoli, 21, who both buys and occasionally sells on Vinted, said resale has changed how she thinks about shopping. 

    “I don’t see it as decluttering anymore; it’s more like managing my wardrobe as an asset. If I buy something, I’m already thinking about what I could resell it for,” she said. 

    The growth of the resale economy is also evident in delivery trends.  

    By late 2025, An Post reported that online sales made up almost 7% of all Irish retail, with packages sent between consumers – like those from Vinted or Depop – growing faster than traditional online shopping.  

    This suggests that buying and selling second-hand is no longer a small niche, it’s now a normal part of Ireland’s retail scene.  

  • Dublin After Dark: The cost of belonging in Ireland’s ‘social living room’ 

    Dublin After Dark: The cost of belonging in Ireland’s ‘social living room’ 

    A look inside Dublin’s after-hours culture, where connection, caution, and community shape every night out. 

    By Peace Okolo

    As evening settles over Dublin’s city center, the city begins to transition into a livelier, merry atmosphere.  

    Office lights switch off, and the glow of pub signs and streetlamps takes over, casting a warm glow that makes the city even more beautiful. 

    The bright neon windows outside The George pub shine colorfully against damp, rainy city streets, drawing in clusters of friends seeking music, warmth, a safe space, and something harder to define: a sense of belonging.  

    “I think it’s so fun,” said Yuri Sousa, a Brazilian healthcare worker, standing just off the dancefloor.

    “The weather is really different, but the mood is similar to Brazil. I feel very welcome here.”  

    In Dublin, nightlife functions as a social glue – a space where people connect after long workdays, where migrants find familiarity, and where LGBTQ+ communities find visibility.  

    “You get somewhere, and there’s just a sense of community,” said Eva Tighe from Bray, Co. Wicklow.

    “Everyone is there for the same reason. No judgement. No prejudice. You feel like you belong.” 

    In Ireland, pubs have long been viewed as communal spaces, places where strangers become acquaintances and acquaintances develop into friends. 

    Pub manager Connor O’Rourke, who has worked in the hospitality industry for over a decade, believes this tradition still defines Irish nightlife. 

    “The pub has always been Ireland’s social living room,” he explained. “People don’t just come here to drink. They come here to talk, celebrate, and decompress after work. That hasn’t really changed.” 

    Temple Bar at night. Photo credit: Peace Okolo

    While Dublin’s pubs remain a central part of Irish nightlife, the experience of a night out is changing.  

    For many, the traditional ‘social living room’ is now being shaped by three practical challenges: rising prices, safety concerns, and the ongoing effort to make the city feel inclusive for everyone. 

    Hospitality worker Maeve Farragher is a proud Dub; from Dún Laoghaire, but even with a lifetime of local knowledge, she says being a woman in the city at night requires vigilance. 

    “I feel safe sometimes because I know Dublin,” said Farragher. “There’s a familiarity there. But I’m also very aware of my position as a woman.”  

    Walking through the city center, even in busy areas, she describes moments of being shouted at, stared at, and sometimes worried about the thought of being followed. 

    “You start asking yourself, is he following me? Is he not?” she said. “I’ve had to ring my boyfriend or my dad before. And I hate that. I hate that I have to rely on a male presence to feel safer, or to be treated with more respect.” 

    For many in the queer community, safety is also a concern.  

    “When I’m with my friends, in a group, in a gay club or a pub, I feel safe,” said the Brazilian healthcare worker. “But alone on the street, not always,” he added. 

    Hospitality workers have also recognised their role in maintaining safe nightlife environments.  

    Bartender Tariq Young says venues have become more conscious of customer wellbeing. 

    “There’s definitely more awareness around safety now,” he said.

    “Staff are trained to watch for situations where someone might be uncomfortable or vulnerable. People expect venues to look out for them, not just serve drinks.” 

    Affordability, however, remains a barrier. 

    “No, absolutely not,” Maeve exclaimed when asked if a good night out in Dublin is affordable. 

    “I work in a pub. I see people spend fifty, sixty, seventy euros in one night, regularly.” 

    But for many, nightlife remains deeply tied to Irish culture, not only as entertainment but as a reflection of community and belonging. 

    Bethany Higgins from Ballybrack captures the pull that keeps people returning.  

    “You just want to let loose,” she said. “It’s great connecting with friends. It makes you feel like you belong somewhere.”  

    Despite its challenges, the feeling of belonging is the quiet heartbeat of Dublin’s nightlife. 

    It is why people endure the cost, the planning, and the vigilance. It is why they step back into the city after dark, again and again. 

    The pleasure of experiencing Dublin at night is not just about drinking or dancing. It is about finding connections in a city that can feel both intimate and intimidating. 

    It is about creating spaces where people feel seen, even if the walk back home still requires caution.  

  • ‘Working just to pay rent’: Dublin’s rising costs leave young people financially stretched 

    ‘Working just to pay rent’: Dublin’s rising costs leave young people financially stretched 

    Rising rents and living costs in Dublin are limiting young people’s ability to save, travel, or plan for their future.  

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    By Peace Okolo

    In recent years, Dublin city has witnessed a sustained increase in rent, property prices, and everyday living costs.  

    Recent housing data show that the average rent in Dublin is now significantly higher than before the COVID‑19 pandemic, with the standard rents for new tenancies standing at about €2,186 per month in 2025.  

    According to rental market reports, before the pandemic, rents in many parts of Dublin were around €1,000 per month, much lower than they are today. 

    As a result, many young people find themselves spending more just to maintain a basic standard of living.  

    Dublin, often described as a ‘city of opportunity’, is a place where young people come to study, work, and lay the foundations for their future due to its role as a global economic powerhouse.  

    But as the cost of living continues to rise, many young people living in Dublin are beginning to question if that future is still within reach. 

    by Lukas Kloeppel 

    For many, housing is their biggest concern. 

    Anita, 25, who works in communications, said the cost of renting in Dublin sometimes creates a false sense of financial stability.  

    “You feel like you’re making money in Dublin,” she said “but really, you’re just making it for your landlord. At the start of the month, you think you’re fine, then rent is due, and you remember you actually don’t have anything left.” 

    Research shows that rent takes up a significant portion of many young workers’ incomes, thereby leaving little to no room for savings or long-term financial stability. 

    Martha, 28, works as a marketing assistant and lives in a shared single room in Phibsborough, where she pays €850 a month.  

    “I’m earning what you’d expect for a graduate job, but rent takes a big chunk of my salary, so saving doesn’t feel realistic,” she said. “I don’t live lavishly, I just pay rent, bills, and transport but by the end of the month, there’s only a little left.” 

    Increased rents have become one of the defining features of life in Dublin. Even though there are modest increases in minimum wages, it doesn’t keep up with rising housing costs.  

    Dennis, 27, who works in the hospitality sector, says the idea of long-term stability grows increasingly distant. “I’m spending close to half my income on rent,” he said 

    “People always say to move further out, but then you’re paying more for transport and wasting time. It feels like no matter what you do, you’re stuck.” 

    The pressure seems to start early for students and recent graduates. Emily, 21, a final-year student at Griffith College, says she already feels anxious about what comes next.  

    “Everyone talks about getting a job after college, but no one really talks about how hard it will be to afford to live here on an entry-level salary,” she says.  

    The financial strain has also forced some young people to put personal goals on hold while remaining in the city.  

    Naomi, 26, has lived and worked in Dublin for the past two years and says rising costs have reshaped how she plans for her future.  

    “I really want to travel and see the world,” she said, “but right now, all my money goes on rent and basic expenses. By the time I’ve paid bills and sent money home, there’s nothing left to put aside for travel.”  

    She further explained that beyond day‑to‑day costs, additional travel barriers make her dream of traveling feel even further out of reach.  

    “People don’t always think about things like visa requirements and passport privileges,” Naomi said. “Application fees, proof of savings, and all the extra costs add up when you’re already just trying to survive in Dublin; it’s hard to meet those requirements.” 

    The impact of these rising living costs extends beyond how much one spends a day and is now shaping how young people plan their future.  

    But despite these challenges, many young people still express a strong attachment to the city.  

    Dublin’s vibrant cultural life, creative industries, and sense of community continue to draw people in, even as living costs continue to rise. 

    “I don’t want to leave,” said Khalid, 23, a freelance videographer. “This city is where my work, my community, and friends are. But it’s hard to think of anything long-term when you’re constantly worrying about money.” 

    The experiences shared by these young people living in Dublin reflect the reality facing the vibrant city.  

    Government policies such as increasing housing supply and supporting first-time buyers provide relief.

    But for most young people living in Dublin, the rising cost of living continues to shape their daily life, limit financial freedom, and make building a secure future an ongoing struggle.