Giddy Up

Like most nine-year-olds, I had a solid two or three months of extreme equestrian obsession, though probably confined to The Saddle Club (Hello World) and National Velvet.

I can’t say I would be the best poster-child for any kind of horse race. I do think that horses are some of the most majestic creatures in the animal kingdom, and, like most nine-year-olds, I had a solid two or three months of extreme equestrian obsession (much to the distaste of my parents), though probably confined to The Saddle Club (Hello World) and National Velvet. But when it comes to things like the Spring Racing Carnival, the extent of my involvement is limited to staying behind the scenes on race-goer experiences – shooting artwork and working on the design of a Swisse Marquee, say, or photo content for Lexus. When someone shoves a race book under my nose, I don’t really know what to do with it, aside from laugh at horse names like “Last Chance to Dance” or “Red Hot Filly Pepper” or “A Horse Sized Duck” or “Sofa Can Fast”.

I’ll also admit that the first thing I thought of when rudely awoken by thunder and lighting on the dawn of Derby Day on Saturday, was that the

poor racehorses would have to gallop through mud. I know there’s always a lot of negative press on the perceived animal cruelty involved in the whole fanfare, and I honestly haven’t done enough research on the subject to be able to speak for or against it, but I probably do prefer not being able to see the track from the marquees while I’m working.

On a lighter note, this beautiful creature I shot with one stormy July day, before I headed out to the US again, was the sweetest and most patient thing. Standing still while this crazy girl tried to shoot self-portraits in the wind and rain, watching the tripod falling over in the mud and hats and reflectors fly across the ring, all the while having Spring Racing dresses blowing up in his face, can’t have been the most exciting part of his day.

Old mate Bear posed like a legend.

Thanks kid.

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Series shot and styled for The FACE Magazine editorial – wearing Camilla & Marc, Alice McCall, ZIMMERMANN and Swarovski.


Margaret Zhang is a Chinese-Australian photographer, director, stylist and writer based in New York. Since her digital beginnings in the fashion industry in 2009, Margaret has worked with global brands including Chanel, UNIQLO, Swarovski, YEEZY, Clinique, Lexus, Dior, Gucci, Matches and Louis Vuitton in a wide range of capacities both in front of and behind the camera, while completing her Bachelor of Commerce/Bachelor of Laws at The University of Sydney.
Though regularly featured in print and digital media as a model and personality alike, Margaret’s pho tography, styling, and creative direction has been employed by the likes of Vogue, L’Officiel, Harper’s BAZAAR, NYLON, Marie Claire, Buro24/7, and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40 lists, and her work has been recognised as shaping the international fashion industry by the Business of Fashion BoF500 Index, and ELLE Magazine’s Best Digital Influencer of The Year Award.




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