The submissions from 2022 show the lively and ever-changing landscape of modern design in Ireland. Innovative typographic journeys, dynamic motion, and the integration of AI technology shape visual storytelling. The variety of submissions, from both established studios and practitioners old and new, demonstrates how the audience now expects engaging and inventive design-driven outcomes across various strands of our culture and society. This trend signifies the growth of a design industry that is shaping a distinct and mature identity.

Danielle Townsend

It’s uplifting to see how resourceful we’ve become in the face of adversity. Our personality and culture as a nation shines through this year’s work and we can proudly stand tall with the best of them. Storytellers at heart, the outstanding projects are the ones where simple ideas are executed perfectly and strong emotions are evoked. This year’s 100 Archive is Irish design at its absolute best.

Mel O'Rourke, CI Studio

I am most encouraged by the diversity of active patronage in this year's entries, with businesses, organisations and individuals of all types seeking, then trusting talented designers to develop and communicate messages to impact, inform, challenge and inspire global, national or local communities.

Jason Wilson-Max, Facebook, Berlin

There is a build up of anticipation before seeing the work submitted each year, and every time I’m rewarded. It’s encouraging to see an industry growing and flourishing. There’s more diversity in approach and subject matter covered. Design is becoming more integrated into the fabric of Ireland, not only for business, but for social and political change too.

John Gavin, TrueOutput:

2017's selection once again proves that Ireland can genuinely claim to be one of Europe's design capitals. Not one that borrows its cues from established hubs such as the UK, The Netherlands or Scandinavia, but one that has carved out its own identity within the European design landscape. There's a sophistication to ideation and warmth to craft and execution that I feel is unique to Irish design today.

James Cullen, staat, Amsterdam

When we reflect back on the 100 Archive for each year I think it's as important for the selection to tell a story of where design was at in that particular year, but also what we were thinking as a society: what some of the themes and concerns were in business, in culture and in our day to day lives.

Aoife Flynn, IMMA

As a nomadic creature, I often get asked the question, “Do you consider yourself an Irish designer?”. The answer, of course, is always a resounding yes. Irish design is unmistakable. Much like the Irish personality, it is infused with a distinct wit, personality and creativity that is entirely unique to our nation. It is no wonder that our small island continues to make waves across the globe in all types of design, animation and film. From exquisitely designed books to innovative digital platforms, this year’s 100 Archive selection represents the very best of Irish design. It demonstrates the vast and varied skills of Irish designers, both at home and abroad, and illustrates why our nation continues to shine so brightly on the international stage.

Paul Woods – Huge

The work has been selected for inclusion in the 100 Past for 2014 either because it demonstrates: a great idea, sophistication and excellence, an honesty of intent, great craft, a current trend or a mixture of these things. As is always the case, projects which were particularly strong were those in which the designer(s) were involved in all aspects of the project and there seems to be a greater degree of involvement in strategy and content generation as our profession matures and is understood by those who commission the work we produce.

Kathryn Wilson, Slater – IRL

From my perspective the diversity of challenges and opportunities facing client [commissioning design] is stunningly demonstrated through this body of excellently conceived, excellently executed and excellently presented work.

Barney Whelan, An Post – IRL

The 100 archive is an important initiative for both past and future to acknowledge the significance of a design heritage in Ireland and certainly puts it respectably on the map. Particularly as it is so accessible, it's exciting to consider submissions from designers from varied stages in careers and studio backgrounds side by side…

Amie Norman, NormanHulzink – NL

100 Archive proves, more than ever, that there is a vibrant, intelligent and talented design community in Ireland—which is no surprise really, but there has been a dearth of outlets and platforms to successfully promote this great work, at least from an overseas perspective

Kevin Finn, The Sum of – AUS

With 600+ entries the selection process was overwhelming at times but I have to say wow! It's pretty incredible when you see the broad scope of working going in Ireland –from signage to books to websites to identities. Impressive.

Susan Murphy, Ogilvy & Mather – US