Meet Milliner Phillip Rhodes

I first became involved with MTC around 2007, on The Glass Soldier. My background was in fashion millinery. I was at the ballet for a short time as the head milliner. And then I had my own concern for a while: I used to do shows and I used to do fashion. At MTC, I’m “Phillip from hats”. However, I’m also responsible for collating the jewellery, so I’ve had people say I’m a “props something or other” but I don’t take kindly to that! I still see myself as a milliner.

Christie Whelan Browne wearing one of Phillip's creations in The Importance of Being Earnest (2011) photo by Jeff Busby

Being part of the Company is a big deal. You’re all working together on the same project, towards something. Before I started with MTC, I went on a tour of the theatre with a friend who was working here. As we walked through, people said hi to him and they knew who he was, and what he did. I remember thinking that the road I was on was a much lonelier road and the road of belonging to something was much greater.

‘I see MTC as representing some sort of vanguard. I think we serve the future ... we also represent a certain quality of making, and I see us as upholding the standard.’

I see MTC as representing some sort of vanguard. I think we serve the future by giving younger designers, creatives and practitioners the opportunity to learn, to have something made. I think we also represent a certain quality of making, and I see us as upholding the standard. And MTC provides opportunities for professional development, which for a milliner are fairly limited – this is the only theatrical millinery room left in Melbourne; and it’s probably one of only two left in the country. 

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Only through donations and private support will the Company return to a position of strength to create work for the hundreds of creative professionals whose livelihoods depend on us every year.