INTERVIEW
accessories, specifically hats, instead of clothing. I made the hats myself, though I’m no milliner by any stretch. Interestingly, it won me a scholarship for millinery from the RSA, with one of the judges being Mary Quant.” As a result, in 1964, at the age of
Newspaper item after winning a prize with his collection
18, William received a travel bursary and was sent by the RSA to Italy. He navigated Milan, Florence and Rome, immersing himself in the country’s artistic legacy and fashion circles. His experiences ranged from behind- the-scenes insights in Milan to mingling with celebrities at Rome’s fashion shows. Back in the UK,
William completed his final year, after which the college encouraged him to apply to the Royal College of Art (RCA), a move they believed would be greatly beneficial. However, a reluctance to continue the
“The moment
I entered the factory, I was blown away. Seeing the steam and shapes being pulled over metal forms reminded me so much of sculpture”
Sketches from
William’s student collection
financial struggle of student life led him to decline more education in college. He secured a position at the English Sewing Cotton Co., known for brands such as Tootal. Tasked with creating two suits a day, with designs subject to the sales director’s approval, he found the work monotonous. This dissatisfaction drove him towards the vibrant opportunities in London. “After experiencing the glamour and quality of design in Italy, all I knew was that I wanted to work in fashion,” says William. “While in London, I received several job offers from esteemed couturiers like Michael of Carlos Place, John Cavanagh and milliner Otto Lucas. But the pay was minimal, and the roles did not align with my ambitions.
“I decided to approach a hat
company to see if they were interested in hiring me. That company was Edward Mann, who turned out to have already heard of me. While at college, I had made hats in my mother’s living room, which were sold in local boutiques. A salesman for Edward Mann who visited one of these shops inquired about the hats and learned they
18 | the hat magazine | 101
Soft cap design for Edward Mann
were made by a young local chap, being me.” Edward Mann offered him a position as a designer but specified that he would have to work at their other factory in Luton. “I had no idea where Luton was, but they paid for my train ticket and off I went. The moment I entered the factory, I was blown away. Seeing the steam and shapes being pulled over metal forms reminded me so much of sculpture. The whole process of making a hat was overwhelming. From that moment on, I knew this was it.”
Edward Mann
tasked William with designing soft hats, a challenge that suited him well due to his experience in pattern cutting for garments. “The soft hats were a great success,
particularly a rain hat I designed with a spiral crown. It was a complex design to create for the production team but a hit in sales. I also contributed to the creation of model hats in their dedicated department. These hats were artisanal, shaped on wooden blocks, and primarily sold to prestigious outlets like Harrods.” Despite his successful designs, William’s tenure at Edward Mann came to an abrupt end after about four years, a
William Horsman at Salford Technical College School of Arts
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84
