Existing since the 1700s in England, the art of millinery has been refined, reworked and revamped into the most modern of forms over the last three centuries in Britain.While some milliners choose to maintain old-world techniques, others adopt the latest technology from alternative fields to produce their one-of-a-kind signature styles.While their manufacturing processes may differ, there's a few things these London-based milliners do have in common: they all produce bold, standout designs worthy of racecourse recognition; their hats are of superior quality; and they're the names you need to know now if you want to get ahead in the fashion stakes.Awon GoldingBackground: Working as a fashion writer and magazine editor in Hong Kong, Awon eventually decamped to London to pursue her dream of millinery. After an apprenticeship with Edwina Ibbotson, she went on design hats and soft accessories for high street giants Topshop and River Island before establishing her own label.Studied at: Kensington and Chelsea College, receiving a Distinction in Millinery.Signature style: Having spent an eclectic youth in India, Hong Kong and England, she draws on her multicultural heritage to inspire dynamic headpieces, which feature bold shapes and dramatic silhouettes.Our favourite piece: Doppio from her SS14 collection. What's not to love about two giant scoops of fluffy ostrich feather deliciousness balanced in a golden sinamay cone?Website: awongolding.com Emma YeoBackground: After studying Multi Media Textiles at Loughborough University, Emma moved back to her home town of Brighton, where she started her career creating interior textile installations. She also specialises in paper sculpturing for both commercial and art sectors, which has directly influenced her daring approach to headwear.Studied at: Central St Martins, where she completed an MA Design in Jewellery. It was here Emma discovered her passion for fashion adornment and applied her design skills to headwear.Signature style: A sophisticated hybrid-design philosophy, combining cutting edge technology with sympathetic craftsmanship. The use of fine, laser-cut wood is Emma’s signature.Our favourite piece: Shield from AW15. The combination of soft felt, grainy wood and the most intricately-cut brass panel in a classic, wide-brim silhouette makes for a very intriguing and memorable hat.Website: www.emmayeo.com Laura Apsit LivensBackground: During her studies, Laura spent time working for Philip Treacy, where she honed her millinery skills by working on many commissions for the royal wedding. Post-graduation, she freelanced for another royal favourite, Jane Taylor, before biting the bullet and opening her own atelier in the swanky district of Mayfair.Studied at: Central St Martins, where she completed a foundation degree specialising in 3-D design, followed by a BA(Hons) in Cordwainers Accessories from the London College of Fashion.Signature style: There's a lot of Treacy magic in her work, with sinamay featuring heavily in her collections which fuse modern design with old couture techniques. Each piece is hand-blocked and individually hand-stitched without the use of any machinery to obtain the highest quality finish.Our favourite piece: The Matador, presented in rock-solid sinamay with either a complementing self sinamay trim or a scenic fabric band.Website: lauraapsitlivens.co.uk Lizzie McQuadeBackground: Scottish-born Lizzie began her career in fashion at Edinburgh College of Art where she studied womenswear. She went on to work for Emma Cook as studio manager, learning all aspects of running a fashion business. During her time there, she most enjoyed the hand embellishment on showpieces, and left to pursue a variety of creative projects within the industry making use of this skill. Working with leading stylists, including Cathy Edwards and Kate Phelan, Lizzie created styling accessories for editorial shoots, and this path lead her to millinery.Studied at: Kensington and Chelsea College, where she studied under leading milliner Noel Stewart, whom she worked for upon completing her studies.Signature style: Lizzie fuses straw, felt or sinamay with textural embroidery, handcrafted trimmings and unexpected materials, such as PVC and latex, to create modern pieces that are sculptural and quirky, but also feminine and desirable. Her trademarks are intriguing embellishments, and inspired dipdyed brims and peaks.Our favourite piece: Her SS15 straw beret with iridescent acetate wheatsheaf trims, which pick up the light and add the right amount of sparkle to any outfit.Website: www.lizziemcquade.co.uk Sophie BealeBackground: Sophie is one of the most well-trained milliners in London, counting positions at Philip Treacy, Stephen Jones, Noel Stewart, Gina Foster and Jane Taylor on her elaborate millinery CV. Along with designing for her own label, Sophie is also the Head of Millinery at the revered Kensington and Chelsea College.Studied at: Kensington and Chelsea College, graduating with a Distinction in Millinery. She also studied with Rose Cory, who was once the milliner by royal appointment to the late Queen Mother.Signature style: The creation of space and lightness are at the heart of Sophie's design aesthetic, which produces conceptual and innovative, yet fashion-led, flattering and sophisticated headwear.Our favourite piece: SS15's Folded glass Fedora. The sharp-as-cut-glass brim combined with the origami-like nature of the folded crown make for an incredibly chic and elegant Derby Day statement.Website: sophiebealemillinery.comBy Lisa Tan
Angela and I used to have a rule when entering Fashions on the Field: it didn't necessarily matter if we won or lost (ok, it kind of did), but everything was fine as long as we got "papped".I'm sure this is painting us to be self-obsessed, scene-stealing, D-list wannabes, but one of our prime reasons for thinking in this manner was that we were both budding designers, and any press - however it came and wherever it was published - was going to be good for our future careers (and as it turns out, it definitely didn't hurt).During our years of media whoring, we learnt a subtle trick or two about how to be seen, photographed and published. So for those budding designers or D-list wannabes out there, we bring you the OTOT Guide to Getting Noticed*.
*NB: this guide has been written with tongue firmly in cheek and following its steps will not necessarily result in guaranteed media exposure.
1. Wear something crazy or very differentI like to call this the Menz Method to Media Success. For years, photographers, fashion editors and presenters have loved Angela because of what she wears, and how she wears it. A lot of the time it can only be considered as "full-on crazy sh*t" (birds on shoulders, poke-your-eyes-out hats, "Crazy Clown" chic), but what separates me and you from Angela is she owns it. She makes every bit of it work and never wears it ironically. So if you're brave enough to do this, make sure you wear your crazy shi*t with absolute confidence because this is not a step for wallflowers.2. Arrive earlyMost media outlets will have a publication deadline which is not unfortunately at 6pm when you get kicked out of the Nursery. And especially where TV is concerned, if it's pre-recorded it's generally happened well before broadcast has even started, to allow for editing time. In the UK where racing starts at 2pm, prime filming and photography time is between 11:30am and 12:30pm, but in Australia it will be even earlier than this thanks to the mid-morning race starts during Carnival time.3, Make the right entranceAnd by this we mean enter using the right gate. Sure, the east gate might be way closer to the train station, but it might be worth the trek to the west gate if that's where all the photographers are camped out. Especially at Royal Ascot - entering via the Royal Enclosure Garden and walking towards the throng of snappers at the main gate will not result in any attention if you don't walk through the gate itself.4. Arrive with someone better dressed than youTotally a tactic I employed at Royal Ascot last year when Angela attended for the first time. I had never been papped before at Ascot, but with Angela's bird shoulders by my side, we made no less than eight dailies on Day 1 and our photos continued to circulate for the rest of the week. We also scored The Big One - no, not a slot in the Daily Mail but a much-coveted interview with Gok Wan, who was presenting fashion for Channel 4.5. Arrive with someone better looking than youBut if you do want a spot in the Daily Mail, it pays to walk around the course with someone who's better looking than you, and is also a bit of a celebrity. Extra points if they've had a recent personal-but-tabloid-worthy "upheaval" and this is one of their first "public outings" since (even though they're actually working and are completely fine). Be prepared to be coaxed into posing unnaturally in set-up shots, and be referred to in the subsequent article by a range of different titles, most of which are way off the mark. (Disclaimer: this method was completely unintentionally applied for this article.)6. Arrive in a group i.e. the "Cheerleader Effect"Gaining prominence through an episode of How I Met Your Mother, the cheerleader effect describes a bunch of ordinary people who increase exponentially in hotness when seen together as a group. Now we're not saying you're all ugly or poorly dressed, but if your outfit can be described as "nice" rather than "outstanding", and your friends are all similarly dressed, you'll find you'll still gather a fair amount media attention if you stay in a group, and probably some nice photos to remember the day by.7. Learn how to poseAs Tyra Banks would say, know your angles! Photographers don't have all day to take a suitable picture, you'll need to work your magic in the space of a minute or two if you want your photo to be considered for publication. At the risk of sounding completely narcissistic, spend some time looking at yourself in the mirror in your outfit before you leave the house. What side should you stand on? How should you hold your hands? Does your jacket look better on or off? Can your face be seen behind your hat?And if the photographer tries to direct you, go with it. Sure, they may ask you to do some weird things, like stand on a table, perch in a rose bush or contort your non-gymnast body into unthinkable poses, but trust them - they know what it's going to look like better than you do.8. Learn how to regurgitate interesting stuff about racewear and racing at the drop of a hat (ahem, pun not intended)In the event of an interview (especially a live one), it pays to know exactly what you're wearing and be able to say something amusing or interesting about it. Stammering, long pauses and saying "um, I borrowed it from a friend" does not make for a good interview. However, giving a short anecdote like, "I borrowed it from my friend last night, I didn't have any xxx and then she suggested this, and it matched perfectly!" sounds much more interesting and draws the viewer in.It can also pay to know a little about racing - even if you're being interviewed about fashion - because I've seen many a fashion bunny caught in headlights when asked the simple question, "Do you have any tips for today?". Saying, "No, I'm just here for Fashions on the Field," will make you sound ignorant and will make at least half the audience groan and roll their eyes. The chance of a repeat interview is always higher if you have good all-round knowledge of racing, and not just racing fashion.9. Be nice to the photographersIf you're attending more than one day of a racing carnival, chances are you'll see the same photographers around. Take the time to get to know them - by this, we don't mean learn their girlfriend's/dogs'/parents' names, but a simple acknowledgement and exchange of pleasantries each time you see them will help commit you to memory. And if you do well with Step 7, they'll be more likely to snap you more regularly.However, do not be the tragic who openly flirts with the photographers - or worse, asks/begs them to take your photo. They see you, and they know what they need to shoot. All you'll succeed in doing is to annoy them and waste space on their memory cards - not make it to publication and certainly not encourage you to snap you in future.10. Make friends with the journalists and presentersSimilar to Step 9, you've more chance of a repeat interview if you're known by the journalists or presenters (and also if you can perform Step 8 well).In all seriousness, Angela and I have never gone out of our way to make friends with journalists/presenters just to get media coverage - they're generally people we have seen over the years on a fairly regular basis and gradually we've come to know them quite well. It should also be said there's a difference between being nice and sucking up, and journalists/presenters usually have pretty accurate bullsh*t detectors. You have been warned.11. Be prepared to make the Worst Dressed List or appear in a negative articleIt's important to remember all press is good press, especially when being published doesn't quite go to plan. Take the example of Angela's 2007 Derby Day outfit: I thought she looked great, but the Herald Sun rated her amongst their worst looks of the day.And in 2012, the Daily Mail wrote an article about the "dishevelled" and "messy" Melbourne Cup, which included about a dozen images of drunken, sloppy, skanky racegoers and a video of a girl throwing a punch at another. But below these hideous photos was a lovely, sober one of Angela with the caption "Bright and breezy: These colourful spectators managed to keep neat and tidy - all the better to show off their vivid creations", followed by sartorial photos of the Duchess of Cornwall. You simply had to scroll down far enough to find them.By Lisa Tan