What initially inspired you to draw from the 1960s for your ‘It Girl’ design?
I closely follow fashion trends, and I noticed a strong 1960s influence in many current collections from major design houses like Celine, Balenciaga, and Chanel, as well as Australian designers like Rebecca Vallance. This influence has even trickled down to fast fashion brands like Zara and H&M. The 1960s have had a beautiful resurgence this year, reimagined in a contemporary way.
How did the process of hand-dyeing vintage viscose and incorporating couture beading techniques shape the final look of the hat?
When dyeing the viscose, I aimed for that distinctive 1960s candy pink. The natural progression was to add complementary coloured stones, beaded in a contemporary way that felt modern and fresh.
Can you share the story behind your choice of materials, particularly the semi-precious stones like Malaysian jade, rose quartz, and moonstone?
I was drawn to incorporating precious stones that aren’t perfect but more rustic in nature. They paired beautifully with the traditional glass and seed beads, elevating the design to another level.
With over 35 hours of hand beading involved, was this the most challenging aspect of creating this piece?
The beading was definitely a labour of love, which I thoroughly enjoyed and loved watching come together. The real challenge lay in working with the semi-precious stones – their weight meant careful consideration of distribution, and knowing when to stop adding more was crucial.
You mentioned every girl at the races deserves a ‘Jean Shrimpton moment’. How do you think that the ‘It Girl’ hat embodies that spirit of boldness and individuality?
The ‘It Girl’ hat has a definite helmet-like quality, but with all the glamour and sophistication of the 1960s. That era represented the peak of women's liberation and female independence, so the ‘It Girl’ is like wearing your own piece of armour, standing out in a bold and striking way.
Do you feel that millinery as an art form is evolving in response to contemporary fashion, or do traditions still hold strong influence?
Millinery is definitely evolving and, in some ways, simplifying with fashion. However, I'm grateful that many racing fashion traditions remain intact. These traditions help preserve our beautiful craft from being diluted and lost.
What does receiving the Lillian Frank AM MBE Millinery Award mean to you personally and professionally?
Personally, it’s wonderful to be acknowledged for doing something I love and am passionate about. Professionally, it’s an incredible opportunity to expand my label and explore new avenues for growth. Winning this award is a full circle moment as I started my hairdressing career at the Lillian Frank Toorak salon when I was 14.
How does the Vogue Australia editorial feature impact your future ambitions as a designer?
A Vogue editorial feature represents a pinnacle moment in any designer’s career. I’m thrilled for this opportunity to reach a broader audience and share my story and design aesthetic of modern vintage millinery – celebrating vintage style hats and headpieces in a fresh, contemporary way.
What advice would you give to aspiring milliners looking to merge artistry with wearable designs?
Don’t be afraid to take risks or make mistakes. Every mistake is an opportunity to learn and grow. Most importantly, never stop learning.
What advice would you give to other milliners thinking of entering the competition?
Push yourself outside your comfort zone, be authentic in your design (you’ll do your best work), and don’t second-guess yourself – it’s such a waste of time.
What role do you think millinery plays in empowering women to express themselves through fashion, particularly on race day?
Millinery is an extension of your personality. Whether it’s a simple headband or a showstopping piece of art, it says a lot about who you are. The wonderful thing is that this can change on any given day, depending on who you want to be and how you want to be perceived.
