Designs on Dublin

Irish design and craft is not, as some might expect, scattered with leprechauns and shamrocks. It is contemporary and commercial. The extraordinary property boom - 60,000 new homes will be built in the Republic in 2004 - and the dramatic rise in the standard of living have led to a greater awareness of design and contemporary applied arts. However, with a population of just 3.3 million, Irish designers have had to look outside the domestic market.

To meet this challenge, older firms, such as glass-maker Waterford Crystal, have rethought their designs. Fashion designer John Rocha updated Waterford's image, producing more contemporary ranges - the geometric Geo and the freer-form Flow. "I would never have used crystal myself," says Rocha. "It was far too formal to use every day, but I love its qualities, and my designs work well in the modern home."

Waterford brand manager Lee Ireland says: "Rocha's designs have changed our market. His work accounts for 10-15 per cent of Waterford's market in the UK and Ireland."

Stuart Crystal employed Jasper Conran to update its range, while Tipperary Glass used Irish fashion designer Louise Kennedy to create contemporary crystal; the move has given it a UK market worth £1.2 million.

The Irish approach is to look at lifestyle and cater for it. The company doing that with the most success is Avoca, a family business run by the Pratts. Avoca offers wonderful, Scandinavian-look rugs, throws and cushions, mixed with beautifully coloured, woven clothes that draw on Irish textile craft skills.

"The store and its contents are all about joy and enjoyment," says Amanda Pratt. "We always remind each other that that is what it's about." The formula is a hit, especially with British visitors, and Avoca is soon to open in

"The UK market is important to Irish exporters," says Marc Berman of Enterprise Ireland. And not only to companies, designermakers, too, sell well in the UK. Gerry

Crosbie, owner of Whichcraft, one of Dublin's leading craft galleries, says: "UK citizens make up 20-25 per cent of our purchases."

Many of Ireland's top designer-makers, such as milliner Philip Treacy, trained in the UK. Their approach is usually more minimalist than locally trained makers, many of whom have roots in local craft skills, such as wood turning or weaving. However, there is still a strong awareness of the historical and folkloric associations of Irish craft, which often results in an emphasis on ornate form and decoration.

This emphasis can be seen in ceramics such as Christy Keeney's portraits and Claire Curneen's haunting, vulnerable white-glazed figures.