alexandra harper couture millinery

'b'twixt'

2012-01-26T10:52:00.000-08:00

Just released, our new collection - 'b'twixt' capsule collection 1 2012

b'twixt: [bih-twikst] preposition, adverb, old english - between; neither the one nor the other; in a middle or
unresolved position

now available for purchase at www.alexandraharpermillinery.com

'masked folly'

'triphase'

'traveller'

'if i were a nomad'

'bloom coral' large

'ready for prom'

'out of the shade'

'bloom coral' medium

'cooped up'

'alternate perspective'

'nostalgia'

Royal Ascot - Back to Tradition, Rebirth of Headwear

2012-01-19T09:48:00.000-08:00

The biggest news since Princess Beatrice's wedding fascinator rocked the millinery and fashion worlds on Tuesday. The UK newspaper The Telegraph reported that Royal Ascot, home of one of the world's most prestigious and glamorous horse-racing carnivals, will tighten its dress code requirements for the 2012 celebrations.

The push back to tradition follows allegations that some visitors are too casually dressed. In fact, according to The Telegraph: "Ascot spokesman Nick Smith admitted that in recent years dress codes had been "relaxed" in an effort to attract more people to the 300-year-old event. But he admitted that after giving "an inch" some had taken a mile, arriving at the prestigious meet dressed "as if they are going to the beach"."

Mr Smith went on to say that because Royal Ascot is "different", the standards of dress should match. Royal Ascot is aiming to bring back the sense that going to the Carnival is a special and unique experience. Very basically, the new rules will clear up the "misunderstanding of what constitutes appropriate attire for this formal occasion" (Vogue UK).

At the Royal Ascot website, we can see the definitive guide:
http://www.ascot.co.uk/?page=royal_ascot

Ladies

Ladies are kindly reminded that formal day wear is a requirement in the Royal Enclosure, defined as follows:

Dresses and skirts should be of modest length defined as falling just above the knee or longer;
Dresses and tops should have straps of one inch or greater;
Jackets and pashminas may be worn but dresses and tops underneath should still comply with the Royal Enclosure dress code;
Trouser suits are welcome. They should be of full length and of matching material and colour;
Hats should be worn; a headpiece which has a base of 4 inches (10cm) or more in diameter is acceptable as an alternative to a hat.

Ladies are kindly asked to note the following:

Strapless, off the shoulder, halter neck, spaghetti straps and dresses with a strap of less than one inch (2.5cm) are not permitted;
Midriffs must be covered;
Fascinators are no longer permitted in the Royal Enclosure; neither are headpieces which do not have a base covering a sufficient area of the head (4 inches / 10cm).

Gentlemen

Gentlemen are kindly reminded that it is a requirement to wear either black or grey morning dress which must include:

A waistcoat and tie (no cravats); and
A black or grey top hat; and
Black shoes.

The customisation of top hats (with, for example, coloured ribbons or bands) is not permitted in the Royal Enclosure.
A gentleman may remove his top hat within a restaurant, a private box, a private club or that facility’s terrace, balcony or garden. Hats may also be removed within any enclosed external seating area within the Royal Enclosure Garden.

To me, this news, especially on the hat-front, is no real surprise. More often than not, those of my clients who need a piece for Royal Ascot absolutely want to make an elegant and obvious statement with their headwear, and even if they don't want a 'hat' in the traditional sense, they will always want something substantial - a piece large enough to more than meet the 10cm diameter requirement.

More exciting for milliners however, is the news of changes to the Grandstand Enclosure dress requirements. ALL women are required to wear some kind of headwear. Take a look at the official advice from the Royal Ascot website:

Ladies

Ladies within the main Grandstand enclosure are encouraged to dress in a manner as befits a formal occasion.

Ladies are kindly asked to take particular note of the following:

A hat, headpiece or fascinator should be worn at all times;
Strapless or sheer strap dresses and tops are not permitted;
Trousers must be full length and worn with a top that adheres to the guidelines above (i.e. strapless or sheer strap tops are not permitted);
Jackets and pashminas may be worn but dresses and tops underneath should still comply with the Grandstand Admission dress code;
Midriffs must be covered;
Shorts are not permitted.

Gentlemen

Gentlemen are required to wear a suit with a shirt and tie.

Personally, I love the idea of re-instituting the tradition, sophistication and glamour on which the whole of Royal Ascot is based. Aside from the more formal dress requirements that may be slightly more difficult to attain (eg: while I rarely don a mini, I'm not sure I own a race-going dress below the knee!), the requirement for all women to wear some form of headwear is fantastic. Just think of the spectacle - every female head sporting some kind of adornment - what a fantastic way to promote millinery and fashion in general.

Some clients have asked me if I think this will spell the end of the outlandish and wild outfits we see each year from some particularly game women, or the end of unique, individual and boundary-pushing fashion statements. My answer is no, I don't. I can't imagine that things like slightly longer skirt lengths and the necessity of headwear will stop women from wanting to impress in the fashion stakes - after all, headwear generally forms an integral part in the looks women such as these create. And although there is a certain amount of restraint required, I believe modern and stylish fashion can exist within the boundaries of formal attire. British Vogue's features writer Sarah Harris also suggests that "Royal Ascot is one of the most prestigious events of the season and improving the dress code wording will ensure that the event remains iconic and a strong part of the fashion calendar".

Ultimately, I think the new rules signal a return to tradition, rather than a return to conservatism. It would be awful if the tightened rules led to a lack of individuality or stopped us from expressing our personalities through our fashion choices. But hats and headwear needn't be staid or conservative, even at Royal Ascot. Above all, glamour, sophistication and innate style is what's required, and I think the new rules are a step in the right direction for achieving this at Royal Ascot.

In the gorgeous book Fashion at Royal Ascot, an A to Z of 'not appropriate' sums it up pretty well!

A- ARMS: An artfully draped pashmina covers a multitude of sins

B - BRA STRAPS: Should never be seen at Royal Ascot

C - COURT SHOES: Those with low heels are best on the turf

D - DRESSES: Remember, this is a race meeting, not a cocktail party

E - ELEGANCE: As Mrs Vreeland says, elegance is refusal

F - FASCINATORS: A dodgy tuft of chicken feathers is hardly an object of fascination

G - GLOVES: Kid to the wrist, not satin to the elbow

H - HATS: Be bold, but don't panic your pets and small children

I - IRONING: Do steam and press your morning coats, chaps

J - JEWELRY: Diamonds for daytime are acceptable at Royal Ascot

K - KNOTS: The definitive Ascot tie knot is a tight four-in-hand with a neat dimple

L - LEGS: Hose are no longer compulsory in the Enclosure, but go easy on the Fake Bake, ladies

M - MORNING DRESS: A black cutaway coat and puppy-tooth trouser is the fashion, but not the rule

N - NAILS: Acrylics are common even if you are wearing Chanel Couture

O - OSTENTATION: It is always advisable to remove one accessory or piece of jewelry before embarking for Royal Ascot. Tone it down

P - PANTIES: Yes, please, ladies, but not on show

Q - THE QUEEN: Watch and learn

R - RAINWEAR: Brollies are never folly at Ascot, and make rather smart walking sticks for our elders and betters

S - SATIN: Never, ever at Ascot

T - TIE STUDS: Gentlemen prefer studs at Ascot. Tie clips are for bankers

U - UNACCEPTABLE: Tattoos, piercings, strapless, too short, too tight, too tarty

V - VEST: The Savile Row term for waistcoats. Yes, please, but not shiny, embroidered or comedic

W - WHITE SHIRTS: Not in the Royal Enclosure

X - X-RATED: Do remember, this is the Royal Meeting, not My Big Fat Gypsy Wedding

Y - YOBBISH BEHAVIOUR: Well dressed and well behaved go hand in hand at the races

Z - ZIP FASTENERS: A marvellous invention, but an aberration if clearly visible

Sherwood J., Fashion at Royal Ascot, United Kingdom, Thames and Hudson, 2011, p214

The Telegraph article: http://fashion.telegraph.co.uk/news-features/TMG9020106/Royal-Ascot-to-tighten-dress-code.html

Vogue UK article: http://www.vogue.co.uk/news/2012/01/18/royal-ascot-tightens-dress-code

Catching Up

2011-11-04T05:37:00.000-07:00

Phew. It has been few weeks since my last blog post.... it has been a really busy time - sourcing trips to New York and London, but most importantly, creating like crazy for the Australian Spring Racing Season.

We've had a lot of press surrounding this exciting time in Australia, so for this post, take a look at some of the gorgeous images and unique pieces from our latest collections.

Lara Stone in 'epoque'
Interview Magazine

'madame coleoptera'
styled by Laura Stead for the Courier Mail October 2011

'the mark'
styled by Laura Stead for the Courier Mail October 2011

'fracture'
Grazia Australia

'geurriere'
Marie Claire Australia November 2011

'fractured observations'

2011-09-02T09:18:00.000-07:00

Our latest collection has finally been released. Called 'fractured observations', this collection blends unexpected colours, materials and combinations to create a wearable, universal collection suitable for both the southern spring/summer and the northern autumn/winter seasons for 2011.

All pieces are currently available for purchase at www.alexandraharpermillinery.com

'fracture'
mini-beret in black with shattered mirror pieces

'why can't you be'
electric blue fascinator with silk blooms and vintage french veiling

'the mark'
black and stone fascinator with silk blooms, loops and
hand-cross-stitched skull motif

'bloom lancaster'
deep-red, silk bloom brooch/fascinator

'eclipsed'
yellow pillbox with veiling, spikes and black leather disc

'a peony lush'
many pinks fascinator with bows, loops and vintage french veiling

'sid and nancy'
black velvet pillbox with spikes and pearls

'oh revolution'
extra-large, feathered fascinator in browns

'magniloquentia'
red fascinator with silk blooms, pleated velvet ribbon and
burnt ostrich feathers

'dynasty of punk'
taupe pill box with veiling and leaves in black leather and snake skin

'madame coleoptera'
black leather fascinator with electric blue, jinsin loops

End of Season Sale Fever

2011-08-19T05:39:00.000-07:00

Just a quick post today to do some shameless self-promotion. We're on sale at Alexandra Harper Couture Millinery. You'll get some excellent reductions on pieces from our past collections - to make way for our new stock that will launch in a week or so.

The sale's on now at www.alexandraharpermillinery.com

Receive 30% off all full price stock (excluding new season stock)
Receive a further 10% off already reduced stock (total reduction 50%)

Take a look below at some of our gorgeous pieces - all included in the promotion:

'roll up roll up' from the Catwalk Circus Collection
now on sale

'moonshine' from the Catwalk Circus Collection
now on sale

'target practice' from the Catwalk Circus Collection
now on sale

'dapper gent' from the Out With A Collection
now on sale

SPECIAL POST - Design A Hat for Stephen Jones

2011-08-12T15:07:00.000-07:00

A special blog post to request your support!

PLEASE VOTE for Alexandra Harper Couture Millinery in the Design A Hat for Stephen Jones competition!

Follow the link:
http://www.talenthouse.com/creativeinvites/preview/abef956991fbe6fd025ec830163914e0/239

This is my entry - 'Madame Coleoptera'

Drawing inspiration from the exoskeletons of beetles and insects, this headpiece is made from blocked, black leather and electric blue jinsin fibres. The hard, armour-like shells counterbalance the fluid lines of the jinsin loops - strength and elegance combine in headwear for the contemporary, confident, singular woman.

Stephen Jones, one of the world’s finest milliners, is inviting designers to submit a photograph or illustration of their originally designed hat for the chance to be a part of Hats: An Anthology, an exhibition hosted by the Bard Graduate Center in New York City. The exhibit is a collaboration between Stephen Jones and theV&A and has previously attracted over 350,000 visitors in London and Brisbane. The selected hat will be displayed in the Bard Graduate Center Gallery as part of the exhibition. Stephen Jones is looking for originality and creativity and encourages participants to use any kind of material - from paper to metal, fabric to feathers, card to plastic.

Vivacious Vintage

2011-07-29T05:12:00.000-07:00

Inspiration can always be drawn from designs and styles of the past and a constant challenge for the modern milliner is to translate old-fashioned or historical shapes and styles into contemporary pieces.

So, it's worth taking a look at vintage headwear for ideas and insight. What goes around, comes around - as they say.

Below is a newly acquired piece to my vintage hat collection. Although it hasn't influenced my work as yet, nods to this darling piece will surely crop up somewhere soon. (I never use the word 'darling', but what word better describes this sweet, innocent little piece?)

Made in the 1950's by G Howard Hodge, this 'bonnet' combines swiss straw braid, velvet ribbon and artificial grapes - in varying shades of pink and mauve. The piece was acquired in the US, and in fact G Howard Hodge was an important, mid-20th century American milliner. He was a member of the 'Millinery Creators Group' - a group of US milliners of the period who specialised in ready-made hats constructed with quality materials and high-end construction techniques. (Thanks to Lizzie Bramlett of funnylizzie.com for this information.)

An advertising poster for G Howard Hodge designs dated 1937:

(image from vintagetheaterads.ecrater.com)

Spreading The News

2011-07-15T12:44:00.000-07:00

Firstly, a gazillion apologies for not blogging sooner. It has been an interesting time lately for Alexandra Harper Couture Millinery. We have been busy in the US, finalising stockist arrangements, sourcing supplies, liasing with stylists and most importantly, working on the upcoming Northern Winter / Southern Summer collection.

One of the highlights of the past few weeks was my buying trip to New York City. It has been said before, but New York really is one of the most exciting, influential and inspiring cities.

My trip to the Garment District was particularly successful - lots of beautiful supplies and materials that will go into the new collections. Of course, no trip to this fashion hub would be complete without stopping by 'Mood', fabric Mecca. I managed to do some damage.

And really, there's always time to do a little personal shopping. More damage on Fifth Avenue.

An interesting find that instantly caught my attention in the Garment District was the Millinery Center Synagogue. The history of milliners and hat-making in New York is fascinating, and although not of jewish heritage myself, the coming together of the two made me curious.

To me, it looked unused and abandoned but in fact, after a bit of research, I learnt that the synagogue holds ten orthodox services a day and was founded in 1934 by jewish hat makers. Similar centers evolved in the district at the same time, like the Fur Center Synagogue, but died off as the fashion district changed, particularly in the early 1990's.

By 1920, the millinery industry was well established in the New York City Garment District and was generally located in the area between 35th and 40th Streets, from Fifth to Sixth Avenues. By 1931, there were nearly 600 hat manufacturers in New York employing around 15,000 workers.

Clinton Street (on the Lower East Side) was the heart of the retail millinery trade - around 16 stores lined the street from Houston to Grand Street.

on Clinton Street, around 1914
(image from ephemeralnewyork.wordpress.com)

The overwhelming highlight of the trip though, was the 'Alexander McQueen: Savage Beauty' exhibition at The Met. Unfortunately I don't have any images of the exhibition, and I really can't find the words to properly describe how incredible, how awakening and how significant this collection is.

To read more about the exhibition, read this excellent review from New York Times journalist Holland Cotter: http://www.nytimes.com/2011/05/07/arts/design/alexander-mcqueen-show-at-the-met-review.html?pagewanted=all

image from oliviasobsession.com

The Sweet Life and A Vintage Fabric

2011-06-10T06:09:00.000-07:00

Our latest capsule collection is called 'La Dolce Vita' - inspired by all things Italian, 50's, Sophia Loren and Summer Glamour.

Using the italian flag as a starting point (that glorious red, white and green), I wanted the collection to reflect the exuberance, abandon, summer heat and innocence of a 1950's Italian Summer.

I was lucky enough to track down this vintage fabric - a good quality cotton print from the 50's - so retro, so Italian, this fabric had to headline the collection:

'la modella'
now available for purchase at www.alexandraharpermillinery.com

The rest of the collection uses straws, silks, flowers and feathers to embody the casual glamour of the mediterranean warm weather season.

'contadino francese'
now available for purchase at www.alexandraharpermillinery.com

'reginetta di bellezza'
now available for purchase at www.alexandraharpermillinery.com

'vermiglio'
now available for purchase at www.alexandraharpermillinery.com

'perdere i sensi'
now available for purchase at www.alexandraharpermillinery.com

'fonte della gioventu'
now available for purchase at www.alexandraharpermillinery.com

'primavera'
now available for purchase at www.alexandraharpermillinery.com

'flore dorato'
now available for purchase at www.alexandraharpermillinery.com

'gusto di menta'
now available for purchase at www.alexandraharpermillinery.com

Native American Influences

2011-05-27T12:02:00.000-07:00

After a trip to the Smithsonian National Museum of the American Indian, I was reminded of the very large roles native and historical dress play in influencing modern fashion and particularly millinery. It could be argued, I guess, that specifically the use of feathers in headwear today is a direct descendant from the use of feathers in ceremonial and traditional dress.

In terms of Native American headwear, we all immediately think of full-length, eagle-feather war bonnets. In truth, these were by no means the only type of headdress and nor were they the most commonly worn. All kinds of hats and headpieces were worn to signify all sorts of things or occasions. Below are just a few I encountered at the museum:

ceremonial headdress from the 'Ch'unchu' tribe

So we start with the more common image of Native American headwear - the impressive feather headdress known as a 'war bonnet'. These war bonnets were made with the tail feathers of eagles (and it is said each feather had to be earned through an act of bravery). Feathers were sometimes painted with a red dye to commemorate a particularly brave or heroic act. War bonnets were also often decorated with animal skin and/or beadwork.

ceremonial/dance headdress from the 'Qollas'

Now, we see particularly colourful pieces used in dance/ceremonial performances. Colours, ribbons and beading are the predominant techniques and materials used - perfect inspiration for a contemporary milliner.

ceremonial headwear for the 'jump dance'

Another, less elaborate piece used for the 'jump dance' - a dance to drive the bad spirits away. Less colourful but just as detailed, this piece has animal skin and feathers as its main components.

war headwear from the 'Chiricahua Apache'

Native American feathers are an important symbol of the Indian way of life and are used to represent power, freedom, wisdom, trust, honour and strength. As in contemporary millinery, the use of feathers in american indian headwear can put forward a subtle message or style or can be totally over-the top to make the ultimate statement.

I think feathers are always beautiful in hats - mostly because they are from nature - something natural that can be coloured, shaped or styled to enhance its natural form.

'Maina' headdress

In the Amazon regions, relationships with birds and feathers were considered to be either political or spiritual. In the case of the headdress above, the respect paid to the natural colour groupings of the feathers and their delicate placement would suggest the relationship is clearly spiritual.

'Kayapo' headdress'

'Kayapo' headdress, upclose

This piece was amazing - the natural colourings of the feathers were extraordinary and underneath was an intricately woven straw structure - the pink feathers were woven in, with a fraying knot of the straw at the centre of each feather 'flower'.

Individual Kayapo families had special rights and privileges associated with certain birds and the use of their feathers. This style of 'roriro-ri' cap, made of straw and macaw feathers, was worn exclusively by men on special occasions.

Another type of 'Kayapo' headdress

This headdress reflects the Kayapo understanding of the universe. The circular feather-piece represents the sky, the wooden stick represents the rope that the Kayapo used to descend to earth and the whole headdress is inserted into another hat that represents the physical world.

'Tembe' headdress

This was another amazing piece - worn by Tembe women on special occasions such as naming ceremonies. Individual small feathers were woven together to create the cascading effect - amazingly detailed work.

'Atorai' headdress

Using parakeet feathers, the natural colourings were incredible. Simply trimmed and fanned out - perhaps it's sometimes better to leave our materials in their natural states!

Floppy Beret Beautiful

2011-05-13T11:45:00.000-07:00

Browsing through Barnes and Noble the other day, I came across this gorgeous little book:

"Fifty Hats That Changed The World"

Design Museum, Fifty Hats That Changed The World, London, Conran Octopus Ltd, 2011

The book lists the top 50 headwear and hats that have made a significant impact on contemporary fashion and design worlds. Among them is one of my favourites - the floppy beret.

A beret is a soft, round, flat-crowned hat traditionally worn by French and Spanish shepherds. Usually made from hand-knitted or woven wool, or wool felt, the beret was mass produced from as early as the 19th century. As well as for fashion, berets are worn as part of the uniform of many military and police units and other organisations.

The beret was originally worn by Basque shepherds and acted as a form of protection from the cold mountain winds of the Pyrenees in southern France and northern Spain. The colour of a beret traditionally varied according to region, but ultimately the Basques settled on blue berets, people from Navarre adopted red berets and the black beret became common in France and Spain generally.

Now, the beret has moved beyond the countryside and is worn as sportswear or as a fashion statement.

In the image above, Kenzo's 1971 floppy berets and colourful berets scream fun, colour and youth. With a nod to escapism and childish flamboyance, the oversized berets make the wearer look "as if she were trying on one of her mother's hats.... Set off by a suitably giant-sized feather, this droopy, loopy hat was the perfect headgear for the wide-eyed ingenue about town".

So here is my 2010 ode to the floppy beret. Called 'strolling the tuilleries' this piece is my little homage to chic french girls, which premiered at the 2010 Mercedes Benz Fashion Festival, Brisbane. This piece is made from a sequinned silk and is fully lined.

'strolling the tuilleries'

Take a look at this 2009 article from The Independent for a discussion on the contemporary resurgence (particularly in France) of the beret: http://www.independent.co.uk/life-style/fashion/features/vive-le-beret-the-slouchy-felt-headgear-is-selling-like-hot-croissants-in-france-1668739.html

Beading Beauty

2011-04-21T15:58:00.000-07:00

Hand beading is one of my favourite techniques and you'll see it often in my work, across many of my collections. Although not strictly a millinery technique, beadwork is an intricate (and often under-used) method of adding sparkle, detail or drama to a hat or headpiece.

My current favourite is the piece below - 'bunny be blue' - featured in this week's edition of Grazia Australia. The shoot's stylist requested 'whimsy' and colour, and what a better way to achieve this than with Swarovski crystals, blue pearls and faceted beads.

'bunny be blue' now available at Jean Brown (+61 07 3257 2888)

Beading, really quite an ancient art, is the process of attaching beads or other decorative objects to each other or to a form of cloth, usually using a needle and a flexible type of thread.

Most cultures use beadwork in their historical or national dress or costumes and archaeology has unearthed evidence of beading in garments from even 5000 years ago. Both today and in the past, beads are worn for personal adornment, as talismans and for religious purposes. Historically, shells, animal bones, seeds and other vegetation were used as beads, and as early as the 14th century, glass beads were made by the renowned Murano factory in Venice.

up close with 'refreshments' - plastic pearls, faceted beads and swarovski crystals

'refreshments' (Alexandra Harper Couture Millinery 2010)

When it comes to using beadwork in hats and headpieces, my focus generally is on creating a 'wow' effect, but also on the weight of the piece. Beads in bulk can be heavy, so it's always important to choose a light-weight bead when the piece requires a large number. Often plastic beads and pearls or light wooden beads work best.

'comet power' (now available at Jean Brown (+61 07 3257 2888)) uses seed beads in black and cream

'moonshine' (now available at www.alexandraharpermillinery.com) uses swarovski crystals and faceted plastic beads

'rat a tat' (now available at Jean Brown (+61 07 3257 2888)) uses petite metal beads

'pearly queen' (Alexandra Harper Couture Millinery 2010) uses plastic pearls

'prized' (Alexandra Harper Couture Millinery 2009) uses seed beads and wooden cube beads

Hats As Fashion - Our Gorgeous Clients Lead The Way

2011-03-31T14:29:00.000-07:00

Hats are just for the races? Just for church? Think again. Hats are the PERFECT fashion statement for nearly every occasion. Take a look at some of our shoots and gorgeous clients below. A hat or headpiece can be the ultimate fashion accessory - always a talking point, your headwear will draw attention to you or give you something to hide behind! Channel your inner Anna Dello Russo and embrace individuality!

Our piece 'dressups and makebelieve' (left)
Photogrpaher: Stephanie Bailly / Stylist: Tess O'Connor /
Hair and Makeup: Mae Taylor

Our client (and AH Millinery Ambassador) Anna Mott of Racing Fashion Australia
in 'east end'
at the L'Oreal Melbourne Fashion Festival Alex Perry show

The gorgeous Alicia Mollaun in her custom-designed piece
'so glam hot'

Anna Mott in our piece 'sparkled saucer'
at the launch of Melbourne's Catwalk Circus

The piece 'east end' in a campaign image for Oscar Calvo Menswear (www.oscarcalvo.com.au)

'what a shiner'
Photographer: Philip Papadis / Stylist: Tess O'Connor

60's Style

2011-03-17T17:23:00.000-07:00

AH Millinery was lucky enough to have one of our latest pieces in this week's edition of Australian Grazia magazine:

from 'Grazia' 14 March 2011

'berlin pop princess'

The piece is called 'berlin pop princess' and is available for purchase online. It was included in the magazine's Autumn Racing Spread - in particular, its nod to the tradition-busting 1960's.

It got me to thinking about what an incredible decade the 60's was and how the social changes and movements that were taking place at the time were mirrored in fashions and trends.

Mary Quant designed the mini-skirt, colours and tones were more important than ever - psychedelic prints, block colour and mismatched patterns; and late in the decade hippie fashions (think bell-bottoms, paisley prints, beads and tie-dye) exerted a strong influence. Important to the hat world was Jackie Kennedy's introduction of the pillbox.

My favourite 60's fashion inspiration is the 'Mod' look. In the mid to late parts of the decade, the London Modernists (or 'Mods') emerged as a London subculture which influenced everything from fashion and music to motor cars and architecture. Boy mods adopted smooth, sophisticated looks and sported loafers, tailored suits, ties, v-neck jumpers and pointed leather shoes. Girl mods worshipped androgyny - short hair cuts, men's trousers and shirts and flat shoes, but also loved minis and block colours.

Below is my little ode to London 1960's fashion influences (with a touch of 80's punk for good measure) - 2010 piece 'London Calling':

'london calling'

'qaghan in paris' - Southern Autumn/Winter 2011

2011-03-10T14:26:00.000-08:00

Our latest collection 'qaghan in paris' has finally been released, and is available for purchase at www.alexandraharper.com.au and selected stockists. The collection pushes the boundaries a little - studs and spikes, snake leather and bird wings meet with blooms, beads and feathers to create a collection with a fierce yet refined essence.

'qaghan'

The term 'qaghan' is a title for an imperial rank in the Turkic and Mongolian languages - someone equal to the status of emperor. We see our girl on the streets of Paris: tough, in control, her armour on to face her empire - but still sophisticated, european, romantic, soft. The quintessential Alexandra Harper Couture Millinery woman.

Presenting 'qaghan in paris'.

'a softer edge'

'fringed fete'

'femme en noir'

'taking flight montmatre'

'natural wattage'

'nomadic feeling'

'faire une folie'

'facing the forces'

'creamed cotton right bank'

'vessel of yang'

'fields of cotton'

'heroic dame'

'berlin pop princess'

'geurriere'

'pretty tough'

'nomadic feeling'

'snake in the grass'

'rat a tat'

'genghis remembered'

'plumet'

Catwalk Circus Collection

2011-03-03T14:58:00.000-08:00

'roll up roll up'
available for purchase

March 1st 2011 saw Alexandra Harper Couture Millinery head to Melbourne, Australia, for 'Catwalk Circus'. Set in the olde-worlde surrounds of the Melbourne Town Hall, Catwalk Circus gave us an extravagant show which celebrated the creative parameters of how fashion can be showcased and experienced, far beyond the runway. The show included eccentric dance performances and jaw dropping acrobatics as well as collections from some of Australia and New Zealand's most exciting new designers including A.Concept, Oscar Calvo, Stesha Ho, Tovah and et al.

Participating in Catwalk Circus gave me the perfect opportunity to create a particularly avant-garde collection to counter-balance our more subdued Southern AW 2011 Collection (which will be released very soon). These pieces evoke the glamour and mystery of circuses past while explosions of colour, texture and structure make this collection not for the faint-hearted! Pieces from the Catwalk Circus collection will be available for sale soon at www.alexandraharper.com.au. For enquiries and preview sales, please contact us.

'gymnastique'
available for purchase

'pheasant tricks'
available for purchase

'target practice'
available for purchase

'moonshine'
available for purchase

'fi fi le clown'
available for purchase

'the black magic'
sold

'ringmaster'
available for purchase

It was a great night, with some excellent fashion all-round.

To the right, you'll find me doing sullen-fashion-type in Easton Pearson dress, my incredibly beautiful Alexander McQueen booties, Mimco clutch and my own headpiece.

Next, the fabulous Anna Mott and her posse. Anna (second from left) is a brilliant ambassador for Alexandra Harper Couture Millinery and is wearing our piece 'sparkled saucer'.

Our Latest Cover

2011-02-24T21:56:00.000-08:00

Take a look at our latest, beautiful cover - the Autumn 11 edition of 'highlife' magazine.
Featured is the piece 'dapper gent', currently available for sale online. Thanks to Art Director Keisha Leon and Editor Danielle Hughes Brown.

Don't you think the image looks brilliant? Thanks to photographer Warren Jopson, gorgeous model Lily Sullivan and Makeup Artist Carla Mckeever. This superb team also shot our Autumn/Winter 2011 collections - these new images look amazing and will be released soon!

A New Chapter

2011-02-23T21:46:00.000-08:00

Welcome to our new blog! Follow us to hear all about Alexandra Harper's latest creations, her inspirations and her adventures and travels in millinery and fashion.

You'll see new pieces before anyone else, along with reports on upcoming collections, shows and events. We'll also share what's currently inspiring Alexandra, what new materials she's working with and what's happening in the fashion and millinery worlds across the globe. It's a new chapter for Alexandra Harper Couture Millinery!

'dapper gent' on sale now at
www.alexandraharpermillinery.com