The Bite Magazine - Spring/Summer 2020 - Issue 27

bite fashion centrepiece of every wardrobe. This was portrayed through vintage fabrics, with accessories such as ribbons, feathers, and velvet, and by focusing on the elegant shapes and details of the 1920s-1960s look. Italian milliner Buio’s Metizia piece made with silk velvet, Calais lace embroidery, and hand-painted in different tonality had a dark and mystical look. The design is inspired by Luisa Casati, a muse and patroness of 20th-century arts who was known for her eccentricities and extravagance. Haetts’ designer Renee Zindler from the Netherlands took influence from Roy Lichtenstein’s comic book style and parody on the Instagram perfection for her M-Maybe hat made with felt, feathers, beads, and Petersham ribbon. United States brand Derby Revival’s designer Kristin Lynn Mobley looked to the 1960s hippie flower child-free love movement for her The May Queen piece consisting of retro flower power brooches, retro artificial flowers, and neon aquatic flora. While Australian Elizabeth Louise’s pastel pink Florette made from a recycled retro lace dress and stiffened individual lace flowers to float in the veiling found influ- ence in the late 1940s era when the return of femininity was embraced. South Korean-born milliner Eun Young Lee who lives in the Netherlands fused Christian Dior’s 1950s New Look with traditional Korean hat style for her New Look piece. The hat is made with hanji traditional Korean paper, crin, wire mesh, leather, silk, embroidery thread, polystyrene ball, and paint using Jiseung advanced art technique. Her other design is Daisy, inspired by Daisy Buchanan in The Great Gatsby, played by Carey Mulligan in the film adaptation of F. Scott Fitzgerald’s novel based in the 1920s. The future designs were also impressive. We were bowled over by homegrown Carole Bowley Millinery’s extraordinary white Larvacea hat inspired by Belgian ecological architect Vincent Callebaut’s underwater city. This fascinating design is made from sinamay (from the abaca tree), buckram (stiff cotton), and foil fabric with metallic effect beads and LED lighting with remote control and concealed removable batteries. This would be a fascinating sight at Ascot or the Grand National. The United States’ Amina Hood’s space orientated Mosstro Orbiter was totally out of this world and caught our eyes immediately. The design in the form of a helmet takes its influence from an eco-futuristic design coexisting in nature and Fly Eye Dome designer Richard Buckminster Fuller. It is artistically printed in 3D from a technical drawing, with green moss that absorbs VOC (Volatile Organic Compound), said to retain its colour for at least ten years, along with green and white paint, and a clear coat for the shine. Other futuristic designs that will be shown at the exhibition later this year include Victoria Charles Headpieces’ Galaxy inspired by an image of a purple space galaxy; Margaret Woodliff Wright Millnery’s Re-imagined Atlantis taken from Alexander McQueen’s Atlantis collection with sea themes, patterns, and textures; Dilara Latrous Millinery’s Le Futur et la Paix inspired by Picasso’s illustration of the future in peace; and Anita Marshall Millinery’s design inspired by fluidity and simplicity found in organic futuristic architecture. We look forward to attending the London Hat Week Exhibi- tion in October. www.londonhatweek.com