Photography leon farrell
The donation of Richard Harris’s personal archive has become a catalyst for creativity far beyond the academic sphere. To celebrate the actor’s legacy, the Council of Irish Fashion Designers (CIFD) tasked four of its members with a unique brief: to translate the magic of Hollywood and the singular spirit of Harris himself into high fashion. The result is a stunning collection of pieces that bridge the gap between cinematic inspiration and contemporary Irish design.
Sarah Foy
Sarah Foy’s designs are a love letter to the golden age of Hollywood. She dreams of the poised sophistication of Audrey Hepburn and the immense screen presence of Hitchcock’s leading ladies. The woman who wears Sarah’s pieces, she says, walks into a room and shines, becoming the star of her own world. Using an array of luxurious Roisin Cross silk fabrics, chiffon, velvet and lace, Foy creates classic silhouettes but adds special embellishments and accessories. This approach provides both a nod to the old Hollywood sirens and a modern view of what it means to command a room or a red carpet. Her colour palette is intentionally rich and warm, evoking a sense of old-world drama, with textures used to create depth and richness.
Helen Hayes
For her collection, Helen Hayes delved directly into the multifaceted persona of Richard Harris, drawing from his deep love for rugby, his strong Limerick roots, and his reputation as both a charismatic rogue and a serious thespian. The collection features classically silhouetted gowns crafted from hand-folded squares of duchess satin, a technique evolved from her earlier work and subtly inspired by Vanessa Redgrave’s costumes in Camelot. While deceptively simple at first glance, these pieces reveal their full complexity in motion. Helen’s colour palette includes a deep red, a deliberate nod to Munster rugby, and elegant shades reflecting the glass fanlights of Georgian Limerick. Other pieces showcase her mastery of texture, with garments constructed from folded triangles of satin and intricate layers of ribbon, weaving cinematic references into a cohesive and modern narrative.
Sharon Hoey of AndTate
This collection draws directly from the cinematic contrasts in Richard Harris’s filmography. Hoey’s work acknowledges Harris’s bravery in taking on the role of Oliver Cromwell, delivering a powerful performance in his own Irish accent – a poignant choice given the complex history between Ireland and the historical figure. This led her to explore the stark puritan dress of the era. Sharon reimagines this severe aesthetic through a contemporary lens, with pieces that feature deep black fabrics and sharp white collars, elevated by sparkling beaded crystal appliqué in place of severe military insignia. The collection further spans cinematic genres, from the glamorous silhouettes of 1950s High Society rendered in vibrant red to powerful, layered ensembles in textured black that evoke the modern authority of films like The Devil Wears Prada. Each piece is designed to be sumptuous and luxurious, giving the wearer a fabulous sense of confidence.
Ailish McElroy
Milliner Ailish McElroy found a rich source of inspiration in the distinguished hats worn by Richard Harris, both on and off the screen. Studying the evolution of classic film hats as reflections of their time, politics and wearers, she immersed herself in new techniques to handcraft a collection of fedoras in her studio. Ailish applies age-old traditional hat-making methods to honour craftsmanship, which is integral to her artistic practice. This project marks a new creative departure for the designer, expanding her repertoire from occasionwear into daily wear. The resulting collection is her contemporary interpretation of the classic fedora silhouette, delivering stylish hats that combine the beauty of Irish design with exceptional craftsmanship.
- ‘CIFD: Style Meets Script’ is published in Anthology Volume 24. Read more features from this volume or buy it now.
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