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INTERVIEW
The employer >>
Can it be challenging working for someone else?
Yes, it can be, but that’s what I love about it. I like having different challenges thrown at me. You’re always learning something new and continuously having to problem-solve. It can be daunting, and sometimes you wonder if you’re going to be up to the job, but I generally find freelancing exciting and fulfilling. Plus you get to make new friends and have huge amounts of fun, which is a bonus! At the moment, I’m not working for anyone. I’ve just finished a major film that involved making a whole load of hats and I felt like having a break. I’ve also just acquired a puppy, so my attention for hats has been disrupted!
Why do you continue to freelance on top of running your own label?
With my own label I get small-quantity orders for niche boutiques and the earnings from this are not quite enough to make a living. Doing work for other people adds to those earnings and I also get to share my skills and update my knowledge. I can be a bit of a workaholic and I enjoy freelancing! I get a break from my own aesthetics, and I like the change of scenery, the challenges, the sharing and learning, and the people you meet along the way.
56 | the hat magazine | 101
Edwina Ibbotson studied millinery in London, New York and Paris and has been designing and making bespoke handmade headwear for over 30 years. She is renowned for her unique pieces, her attention to detail and her creative approach to high-quality craftsmanship. Edwina set up her own business, Edwina Ibbotson Millinery, in 1991 in
What are the rates of pay like for freelancing?
They’re all different. Film and TV work, theatre, or fashion – they all have their own rates. I would advise that you work out what your hourly rate is and don’t take anything lower than that. It’s always good to understand what you’re being contracted for too. Are you a ‘maker’ or are you a ‘designer-maker’? The rates for each vary and royalties and/or credits are also involved.
How difficult is it not to be influenced style-wise by the people you work for?
The truth is that if you’ve worked for someone for two years, then their aesthetic rubs off on you. However, I think it’s okay to have some sort of influence, because it defines where you came from, a bit like having a parent. However, you need to be incredibly careful that you’re not recreating a Philip Treacy, a Stephen Jones or a Patricia Underwood and be very aware of that when you’re looking at your own work. In theatre, film and TV, I’ll get a mood board
which sketches out the designer’s idea of what a character should look like as well as references to famous milliners’ work. The idea is to recreate the mood of something and not to copy. This could become an issue of copyright. Referencing is the norm for period productions. One can get really obsessed with period detail, especially if you’re doing it for months. But as soon as you recognise the obsession, you become aware of it and hopefully you get to shake it off so you can move on to something else.
What are the downsides of freelancing?
If the job is based out of town, then the hardest part is the commute (especially when there are transport strikes). There’s also admin work with my own label that sometimes piles up. It would be great if you could arrange jobs one after the other, but of course that’s not the reality. There are quiet times and there are busy times, and when it rains, it pours!
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