The flowerpot hats rising above the short, bright, geometric dresses gave a hint of the 1960s to Jasper Conran’s show.
“Mia Farrow in ‘Rosemary’s Baby’ — the ease of a skirt and a simple dress,” said Mr. Conran, referring to the vivid orange and pink colors, the shorts and skirts and the cut-out circles giving the collection a geometric feel.
The changing proportions and modern fabrics brought the look far forward into modern times. And so did those graphic hats, designed, of course, by the incomparable Stephen Jones.
Under the title of “Headonism,” the milliner has again this season created a platform for intriguing and original hat makers at the Somerset House venue. It is sponsored by that most hat-filled social event: Royal Ascot.
From William Chambers of Glasgow, Scottish accessory designer of the year, came a collection called “La Chanteuse,” inspired by a visit to the Père Lachaise Cemetery in Paris. The soulful singer Edith Piaf’s hooded eyes and gash of lipsticked mouth appears on the side of a white, felt French beret.
For the headwear designer Emma Yeo, wood was the material she used for laser-cut shapes inspired by moth wings. In their light and lacy effects, they looked like 21st-century lace.