Royal Randwick was overrun with more florals than the Chelsea Flower Show on Saturday for the Spring Champion Stakes Day.
Subscribe now for unlimited access.
or signup to continue reading
Patterns and paisley were the odds on favourite in the style stakes inside the VIP enclosure, The Stables, and ended up dominating the space where sponsor Moët & Chandon had free flowing pink champagne on ice for racing royalty like Emma Freedman and social media monarchs like Steph Claire Smith, Nadia Fairfax and Lisa Hamilton.
Milliner Viktoria Novak dazzled the retinas of many in a Dolce & Gabbana gown adorned with more sunflowers than a van Gogh painting and matching crown that was created out of more coloured gems than Queen Elizabeth II's coronation headpiece.
The Bachelor star Anna Heinrich chose a bold watermelon hue for her tailored Rebecca Vallance crepe gown, while socialite Carissa Walford wore the colours of the rainbow in a bold Alice McCall twin-set which she teamed with a white Nerida Winter headscarf.
Walford also wore a chunky shoe called the "Unpredictaheel", which is the "fetch" of the racing season; as in, it's creators need to stop trying to make it happen.
The innovative piece of footwear, designed by London-based Australian shoe designer Kira Goodey, has an inbuilt betting guide that directs the wearer to the nearest bookie thanks to pulsing sensations stemming from each heel. The pulses continue all day, by vibrating and giving off a two-minute warning before each race is due to start.
Like most first attempts at new technology, it's clunkier than a Commodore 64 and would look more at home on board Apollo 11 than next to the Vogue editors, who on Saturday adjudicated the Fashions on the Field competition.
The Fashion Chute winner Jessica Thei looked straight outta Bondi in a mustard and ivory high-fashion boho look by Alice McCall with matching silk headpiece.
Away from the track and inside the exclusive level four grandstand enclosure, Sydney's latest "It" girls Jesinta Campbell, in Zimmermann, and Roxy Jacenko, in Nicola Finetti, turned heads more than usual by going against the grain and instead opting for textured all-white ensembles.
