Nine racing commentator Francesca Cumani, the daughter of trainer Luca Cumani, grew up in Britain surrounded by racewear codes and says that they can still be intimidating for outsiders.
Designer Prue Acton wearing her own designs in 1966, with then husband Mike Treloar.Credit: The Age archive
“It’s something as a racing community that we need to get better at communicating,” Cumani says. “It’s all about making people feel comfortable expressing themselves. When you look at Jean Shrimpton, she looks comfortable. It certainly looks appropriate for today.”
Cumani adheres to Shrimpton’s less is more approach, finding today’s preference for elaborate gowns from some racing guests, on the nose.
“I think there’s a fine line between dressing for the races and dressing for an event, like a ball or a black tie dinner. You’re going to the races in the day, not a cocktail party.”
To accompany this story Australian designer Rebecca Vallance created a modern interpretation of the Jean Shrimpton dress for Cumani to wear.
Along with drawing on Shrimpton’s casual flair, Vallance found inspiration from regular racegoer, Zara Phillips, the daughter of Princess Anne.
“Zara Phillips has that quintessential British style but also injects some modern feminity into racewear,” Vallance says. “She has worn our dresses to Royal Ascot so I wanted to bring a bit of Zara along for the ride as part of this tribute to Jean Shrimpton.”
British model Jean Shrimpton and her companion British actor Terence Stamp at Essendon Airport. Taken on Derby Day, October 30, 1965; A sketch from Badia Bartel’s label Henne offering a modern interpreation of the dress.Credit: The Age archive, supplied
“Growing up in Victoria I’m well aware of the impact this dress had on racewear,” says Vallance, who dressed last year’s Cup Day guest Nicky Hilton. “I think that she looks amazing in photographs from that day. I would happily wear that dress today, if I wasn’t able to get my hands on this one.”
A lace insert on the bodice replaced Shrimpton’s ’60s brooch detail on Vallance’s design. Nadia Bartel, co-founder of Melbourne fashion label Henne, chose a different device for dramatic effect.
“I have always loved Jean Shrimpton’s iconic 1965 Derby Day moment, as I was drawn to the quiet rebellion of her look,” Bartel says. “The simplicity is what made it so chic for its time.”
“We focused on refining proportions, keeping the lines clean around the neckline and the length short to echo its energy, while modernising it with the addition of a cape,” Bartel says. “Capes are having such a moment.”
The mini-rebellion continued the next year in 1965, when there was an outbreak of mini-dresses on the Flemington lawns.
Even with the strong sales that followed, Acton finds it difficult to understand the fuss Shrimpton’s dress caused.
“Lucky they never saw me at the races,” she says. “Occasionally, I’d sneak in but I never wore a hat. I was probably wearing shorts. Imagine the looks.”
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