When you think of the Kentucky Derby you think of two things: big horses and big hats. Women’s hats. There are plenty of other big racing days, but none of them in the United States are associated with the millinery grandeur the same way as this longest consecutively running sporting event on the first Saturday in May and began in 1872. The first editorial mention of hats at the Derby was in a 1926 edition of Time Magazine. It wasn't much of a mention, and was stuck in the middle of an extremely long, convoluted sentence describing the start of the race. “… hats and parasols and a foam of faces…”

For those of you who are new to the sport, the Kentucky Oaks is run the day before the Derby. Unless otherwise stated, most other races including the Kentucky Derby are open to both genders. Although, the general public is probably not as familiar with it, it too is a “hat” affair.

The Kentucky Oaks and Kentucky Derby were founded at the same time by Colonel Meriwether Lewis Clark Jr. in 1875. Thoroughbred racing, which started in Europe, set the trend as a fashionable event across the pond, and those attending adhered to the trendy styles of the day. However, it has been a bit of a rollercoaster ride in America: in the beginning stages of American racing, women had a tendency to think the racetrack may not be the proper place for a lady. Meriwether, with the help of his wife, decided that they should present the experience as a picnic outing, which would require what is called “full morning dress” for both men and women. For women it was not overly formal, but respectively presentable. For men, it was job attire. Hats were more in the style of simple bonnets to keep the sun off women’s delicate white skin, as tanned skin was considered to be a lower class attribute, for those who worked in the fields.

Read more: The Kentucky Derby and Its Hats

by Patricia N. Saffran

The most spectacular scenes in the live-action remake of Disney's Beauty and the Beast, 2017, feature stunning horses and a variety of carriages.There are many breeds and crossbreds represented and each horse is turned out to perfection. Emma Waton as the heroine, Belle, rides the svelte white Philippe, and Luke Evans as the villain, Gaston, rides the black Magnifique.

Philippe, Magnifique and the other horses in the movie come from Steve Dent, based outside of London in Buckinghamshire. Mr. Dent is one of the main sources of horses, carriages, armor and stunt riders to the film and TV industry. Steve Dent’s carriage supervisor for the movie, Haydn Webb, also has a custom wedding and events business in Berkshire which he characterizes, "We at Haydn Webb Carriages pride ourselves in presenting our original carriages exactly as they would have looked at the height of Edwardian elegance. From the horses’ carefully oiled hooves to the beautiful silk top hats of the liveried coachmen, the quality is in the detail."

Read more: EIE Exclusive Interview: Haydn Webb, Carriage Supervisor to Disney’s Beauty and the Beast

by Patricia N. Saffran

“Tale as old as time, True as it can be,” so sings the animated tea pot to her tea cup son in both the animated 1991 and live-action 2017 remake of Walt Disney’s Beauty and the Beast. When the song writers first wrote this Oscar winning song for the animated version, they could not have foreseen just how old the fairytale really is.

Recent research reveals that the tale is 4000 years old, around the period of the spread of horse domestication from the grasslands of Kazakhstan, and the western Steppe to Europe and Asia. Horses were used for riding and as a source of milk and meat. Other recent research shows that horses’ cognitive and communicative behavior around humans, in evidence today, may have made them valuable in the distant past. The magnificent white Spanish horse, Philippe, belonging to Belle and her father in the latest film version of the fairytale, behaves in magical ways that are not just from an enchantment but hark back to the ancient mystical bond between humans and horses.

Read more: Gorgeous Horses Dazzle in Disney’s Beauty and the Beast

"Note from the Editor: August 14, 2017
In light of the recent events in Charlottesville, we are featuring this article by Patricia Saffran which was originally published several months ago on Feb 21, 2017. "

by Patricia N. Saffran

Some of the most beautiful Beaux Arts equestrian sculptures ever created in North America are now being threatened with removal and obvious damage, many believe, to satisfy the political agendas of certain city councils in the South. Recently, on February 6, 2017, the Honorable Bob Fenwick, one of five on the Charlottesville City Council, VA, cast the deciding vote to remove a multi-ton cast bronze and granite base equestrian statue of Robert E. Lee from Lee Park in downtown Charlottesville. He declined to comment when asked about the fact that his vote to remove meant certain damage to the statue. The vote was three to two.

Read more: National Historic Landmark Civil War Equestrian Statues Under Attack by City Councils

Equestrian artisan and entrepreneur, Jeni Benos, of Jenuinely Jeni Inc. created a striking pendant to honor her great grandmother, Angeliki. Learning about the many hardships her great grandmother faced throughout her life inspired Jeni to focus her artistic efforts to honor Angeliki’s memory and ultimately help to fight abuse.

In designing the Angeliki necklace Jeni set out to create something both beautiful and compelling to honor her great grandmother properly. She also made the decision upfront to donate 100% of the profits from the sales of the pendant to women’s charities. A considerable amount of thought went into each aspect of the design with meaning behind every element included.

The only thing that Jeni knew her great grandmother truly loved was riding horses. Riding was something she did frequently while growing up in Greece on a small family farm. Therefore the decision to use a horse to represent her seemed quite fitting.

The sterling silver mare has the bold roached mane of a warhorse to embody strength and empowerment. The texture of her mane mimics the rays of a rising sun in hopes for a brighter future for women in need. Her mouth is open to encourage those who find themselves in abusive situations to speak out.

The graceful folk art pattern adorning the design is reminiscent of art in the old world where she spent her childhood. Symbolically, Jeni set out to tell a story of strength over adversity. May Angeliki’s memory not only represent her personal struggles, but also the millions of women whose lives and oppression have been forgotten.

Read more: Jewelry Designer Creates Pendant for Charity as Tribute to Great Grandmother