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 章凝 is an Australian-born-Chinese director, photographer, consultant and writer based between New York and Shanghai. Since establishing her website in 2009, Margaret has gone on to work with global brands including CHANEL, UNIQLO, Swarovski, YEEZY, Bulgari, Gucci, MATCHES, Under Armour, 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. Margaret’s directing, photography, and styling has been employed by the likes of VOGUE, L’Officiel, Harper’s BAZAAR, NYLON, Marie Claire, GRAZIA and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40, and her work has been recognized as shaping the international fashion industry by the Business of Fashion BoF500 Index for the past four consecutive years. She went on to be the first Asian face to cover ELLE Australia. In 2016, she co-founded BACKGROUND, a global consultancy for which she specialises in Western-to-Chinese and Chinese-to-Western cultural bridging for a range of luxury, lifestyle, and brand initiatives. In 2017, she exhibited a series of 39 unseen photographic works as a solo show in Sydney, and premiered her first short film – a 15-minute exploration of her visceral relationship with classical music on both performance and abstract planes – to critical acclaim.

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