Initial Project Proposal – October 2025

What is the central topic that I wish to explore?

I wish to explore the idea of sustainability within the fabrics of millinery. Whilst I would like to gain an understanding of the wider idea of sustainable fabrics, such as bio textiles and natural dying, I would be more interested in the concepts of rather than growing a whole new fabric (using new resources), but recycling or upcycling fabrics and materials that already exist as textile waste. I would like to create a collection of millinery made from waste materials, but that have a high fashion edge. Questioning why does sustainability/zero waste/upcycling have the connotation of ‘hippie’, brown/ beige and not fashionable. I would like to create wearable and commercial fashion pieces, that do not possess in their design those connotations, but that do embody the values of slow fashion, zero waste and not bringing more new materials into the world, but utilising what already exists. The final output would be a collection of stylish and on trend fashion pieces, made from textile waste.

Why to be sustainable and fashionable, must it be brown, beige or patchwork?

What is the core question or problem that the project addresses? How does this project build upon your previous creative work or experience?

I would like to address the problem of waste and scrap materials already in existence. Why is sustainability in recycling fabrics not commercially accessible and desirable to the average consumer.

Having created millinery for 17 years for clients who needs are very much to match an outfit, to look, modern and contemporary and feel fabulous and stylish. Sometimes these requests go against being able to offer sustainability.

I have created zero-waste millinery collections that are modern and contemporary, but they do limit the client base as they are made from what scraps we have, the colours available and are generally of a mixture of colours, limiting their ability to match many outfits.

I would like to develop these techniques taking it from literally using the scraps to recreating a whole new fabric using textile scraps and potentially bio waste, that can then be dyed to most colourways and gives us a whole new fabric to work from, which could then be blocked like traditional millinery.

The narrative of sustainable and recyclable fabrics is that it’s is drab and brown and ‘hippie’ I would like to prove that narrative and prove that recycled materials don’t mean less fashion forward, luxury or modern. There is also a disconnect between consumers and sustainability, they still want what they want sustainable or not. What if they could have what they want, and it also be sustainable by default.

The fashion industry is the 3rd biggest polluting industry in the world. In whichever way that you look at this this the whole fashion industry is complicit so all within the industry are responsible for their part and for having the conversation about wider change.

With the amount of ‘stuff’ already in the world, surely it is only moral to look at ways of using that which is already in existence over creating new?

Millinery is a traditional craft, but also one on the heritage crafts endangered lists, it is clear that traditional millinery techniques must be continued to be used in order to protect the skills, but how can millinery adapt for contemporary markets and shifting sustainable views whilst honouring the tradition of the craft.

Can waste materials become art with sophistication, is there a way to navigate between client expectations and my sustainable values whilst staying true to my craft and being creatively fulfilled?

Resources and Technical Requirements

I would require acceess to the millinery studios, hat blocks, dye space, sewing machines.

Other areas I would like to look at for technical support/access to studios or equiptment:

Bio-waste

Biotextiles

Natural dying

Papermaking

Spinning and weaving

Felt making

I am hoping that by using scrap materials costs will be limited to sizing/glues/dyes and equipment. I would hope all costs can be kept below £500

Updated Learning Agreement – February 2026

In the past few months, I have developed a deeper understanding of how to approach this MA and to widen the topic into new and exciting avenues. My initial proposal was too narrow and was limiting me creatively and conceptually. The Mid-term crit was a turning point for me, understanding how unlearning my assumptions could release my creativity, but also keep integrity to my work.

What is the central topic that I wish to explore?

Millinery as an object of transformation, from material, concept, and perception. To use millinery as a vehicle to explore broader questions about sustainability, craft, perception, and transformation.

Looking at the tensions between:

• Art vs. Craft/fashion and the preservation of craft vs. innovation. What constitutes value in fashion/art/craft?

• Orderly vs. Chaos (both visual and societal)

• Sustainability vs. commercialism. What does Fashions future look like? How do we navigate the ‘Paralysis Paradox’

• Negative space and perception “The space between stories” How does perception change meaning?

Core Framework: Transformation, reclamation, renewal.

What is the core question or problem that the project addresses? How does this project build upon your previous creative work or experience?

Art/Craft Hierarchy

Fashion and craft are undervalued compared to fine art, particularly when made for function and by women. My work will reclaim craft as an equally valid practice.

Paralysis Paradox

We know the fashion industry is destroying the planet, yet we remain frozen between times, making minor changes, when substantial changes need to happen. How can creative practice imagine alternative futures?

Endangered craft

Traditional millinery techniques and supportive industries are dying; how can we preserve whilst also innovating?

Value

What makes something valuable? Craft skill? Artistic intent? Sustainability credentials? Commercial viability? Function or artistic intent?

Perception

What is real when it comes to a hat? The physical object or the marketing of it? Is a viewer’s perception of a piece more valuable than my own intended meaning?

My previous 17 years in commercial millinery gives me deep technical understanding of traditional millinery techniques, materials, and the hat industry as whole, alongside and understanding of clients’ needs and functions. I have experience in the zero-waste and the circular fashion economy, all of which will be invaluable for my work going forwards.

The MA will build on this knowledge by challenging my commercial constraints, deepening less conventional material knowledge, and expanding my technical skills. It will also allow me to strengthen my gaps in knowledge within the millinery, fashion, craft, and sustainability areas.

Importantly it will strengthen my conceptual skills, helping me understand and place influences and apply deep meaning to my work allowing me to embrace challenge and imperfections.

My practice led research does and will include:

• Material experimentation (allowing materials to lead rather than predetermined outcomes)
• Embracing failure as productive
• Artist/theoretical research (Baroness Elsa, Schiaparelli, Delaunay, Kandinsky, Bauhaus, Bataille, Baudrillard, Marx)
• Critical reflection
• Community engagement (Phyllis Tuckwell partnership, potential upcycling / repair workshops)
• Documentation/presentation as a part of my practice

Unlearning commercial constraints, craft vs. art hierarchies and the need for perfection has been as important for me as far as the learning. My work can now ask bigger questions than waste being luxurious, it can explore what value is, what is real, what is perceived and what is fashions future.

• I will create a body of conceptual millinery work exploring transformation reclamation and renewal and use photography where presentation and perception add to the meaning.
• Potential exhibition/ collection titles: “Trashformation”, “The Space Between Stories” or “Paralysis paradox”
• I will engage with the community charity shop hat for Phyllis Tuckwell auction (Spring 2026) and/or repair workshops.
• And I will document critical reflection examining art/fashion/craft boundaries and my own practice evolution.

Resources and Technical Requirements

As well as millinery equipment and studio space. I also require use of photography studios to help present my work and tell the stories of my work.

Other aspects to receive technical support about:

• Bio- textiles
• Adobe/ Photoshop / Illustrator / Lightroom.
• Exhibition curation
• Workshop facilitation.

Original estimate £500, now increased to £1500 based on current spending and looking ahead to photo printing costs, studio costs, materials costs, and travel to exhibitions etc from expanding my scope. If I am not purely making using ‘zero-waste’ then I will have increased material costs to consider than my first proposal.

Learning agreement – June 2026

Learning Agreement – MA Creative Practice (Millinery)

Evolution of understanding

October 2025

I began this MA with a narrow commercial question. How do I make zero-waste luxury millinery pieces from offcuts that don’t ‘look’ sustainable. I wanted to prove that recycled materials could match traditional refinement and client expectations.

February 2026

The mid-term crit forced unlearning. I realised I was choosing between 2 opposing positions, commercial constraint or artistic freedom. I started asking bigger questions, what does our relationship with waste reveal about class and consumption, coming up with the ‘paralysis paradox’ why does the pure frivolity of millinery exist? How can hats embody these contradictions rather than aim to resolve them?

June 2026

The professional life seminar has completed the reframing of my practice. It is not about separating creative practice from the economics of business, but more how to integrate them together in a responsible and ethically minded manor. Business strategy is as much of a creative practice as the creative making. My 18 years’ experience in the field are inseparable from the craft and from this MA.

This updated agreement reflects that integration of the tensions. It is not just about what I am making, but the economic and educational conditions under which it is made, and my responsibility to learn and share what I learn to protect vulnerable crafts.

Central Research Question

How can millinery function both as a conceptually vigorous practice and be economically and ecologically sustainable? I want to address the contradictions of the fashion industry, whilst acknowledging the conditions required for craft survival and the endangered skills involved.

Secondary research questions:

• What constitutes as genuine value in craft, art, fashion, is it the skills or the market positioning and branding?
• Why does the art world continue to not address the economic illiteracy of it’s graduates?
• Why do art and crafts practitioners not feel prepared for the world of business, and what responsibility do educators have to address the training gap in their courses?
• How do we not get stuck in performative sustainability and greenwashing, but create economically viable and transparent sustainable practices?
• Can creative practice resit neoliberalism economics whilst still paying the mortgage? Can we move away from the struggling artist trope and create economically viable and fulfilling practices?
• What does transformation mean? Is it in materials, the art of the hand, perception or conceptual intent? How does waste and natural materials become treasure. Where is the value gained? Is it from material, skill, meaning, social positioning or creating a desirable brand beyond the product itself.

How The professional life module has reframed my understanding

• The Median creative sector wage is £12000 (below the UK poverty line of £15000)
• Only 10-30% of artists sustain creative careers as their main source of income
• 70-90% of artists are only trained for careers that statistically they will not achieve.
• Creative industries are prone to precarious labour and working for free.
• The smallest of business carry the heaviest weight or risk and taxes in the economy

I am in the minority of those who have created a self-sustaining career from my creative practice. This is not down to craft skill, but much to do with timing, geographic privilege, and calculated business decisions and putting huge importance on the business over the craft. It is not a replicable model; much is down to the fact that it is me doing it and the conditions that I have had in front of me. I feel I have a responsibility to share the business literacy that the education system fails to provide creative practitioners.

From the talks we had this term It was shown that:

• Community and networks must be built intentionally
• Accessibility to craft without dumbing down creativity is possible
• The business enables the craft, not the other way round
• Giving back, is an investment in the sectors health and survival
• Success can exist due to privilege economics; would the same success come without those privileges.
• My MA development would not be possible without my 18 years of commercial stability
• It is not about whether you should commercialise your work, rather how does one use that position responsibly

Learning Outcomes and development plans

1. Creative Practice; conceptual Rigour and Economic reality

Learning Goal

Develop a body of work that addresses contemporary questions around waste, value, class, transformation and sustainability, whilst remaining grounded in economic realities.

How to Measure

• Final MA project to demonstrate both conceptual depth and practical viability
• Charity shop hat transformations, auctioned off to charity, documenting concept, time and labour
• Clear articulation of how work engages with theoretical framework
• Willingness to name economic constraints as part of the work
• Exhibition documentation that includes ad shows the meaning and process behind the making
• Demonstrate the balance between excess and sacrifice when it comes to time, materials and labour

Practical investigations planned and undertaken

• Charity shop hat transformations, systematically deconstructing and reconstructing to add value
• Raw material millinery, back directly to the straw cut to a field, taking the straw as it’s raw form and making into craft using straw plaiting endangerd techniques.
• Ordered VS Chaos, showing considered work against spontaneous work
• Historical reinterpretation, 18^th century bonnets in contemporary materials and contexts, as well as modern styles like baseball caps in plaited straws.

• Business acumen and professional sustainability

Learning goal

Transition from studio-based atelier to hybrid practice that sustains creative time whilst paying bills and developing a framework that supports others doing similar work. Business planning isn’t creative compromise, rather creative discipline to create time to experimental work rather than letting commercial pressures consume it.

How to measure

• Professional life report put into action
• Clear income projections across revenue streams with risk mitigation
• Cost reduction strategy
• Develop short courses for Morley college

• Education and Knowledge Strategy

Learning Goal

Develop skills and capacity to mentor and teach other practitioners heritage craft skills

How to measure

• Look at funding options to develop endangered straw working techniques, from Quest, Heritage crafts or the Arts council.
• Upcycling and repair workshops designed and delivered
• Clear articulation of what knowledge can not be transmitted through instruction alone, but by the feel in the hand.
• Learn straw plaiting techniques and straw braid sewing machine techniques
• Attend basketry short course

Content to develop

• Business literacy framework (costing, pricing, seasonal cash flow management)
• Heritage craft preservation methodologies (before skills are lost)
• Sustainable design principles (zero-waste techniques, material reuse, circular models
• Professional development pathways (Positioning craft practice in contemporary markets)

This isn’t separate research to the value and transformation research; teaching is creative practice and requires tacit knowledge in transferable frameworks

• Critical positioning: Craft Advocacy and Economic literacy

Learning Goal

Develop a distinct voice as a practitioner/educator/advocate who refuses to see separation between creative practica and economic reality

How to Measure

• Final MA covers reflection on the art/craft/fashion boundaries
• Articulate what I believe
• Active engagement with community
• Evidence of shifting between isolation to intentional relationship building

I am a milliner whose practice engages with contemporary questions, fashions need for function, is a useful constraint that distinguishes my practice from fine art and allows me to contribute to an alternative creative viewpoint. I do not wish to engage in arts viewpoint that economics have no value in art. I want to show that contradiction.

This expands plan my thoughts on the paralysis paradox in my previous learning agreement. I refuse to solve the paralysis paradox of how the sustainable fashion industry operates through creative innovation alone. Instead, I will make visible the economic and labour conditions that create it, part of the work and teaching others to do the same, as the actual creative intervention.

Tutorial support

Vesna (millinery tutor)

• Challenge me to push beyond functional design into conceptual work
• Support my learning into straw plait and straw braid work
• Mentorship on preserving heritage craft whilst also innovating
• Feedback on how my commercial mindset informs rather than limits my practice.

Fine Art Tutors

• Articulation beyond millinery specific language
• Understanding frameworks for positioning millinery as contemporary art
• Challenge the understanding of conceptual risk without abandoning the integrity of the craft.

I need permission to make business planning and economic literacy part of my MA, recognition that business, teaching and advocacy is creative practice, support in articulating a refusal to separate between art and economics and acknowledgement that millinery sits at an intersection between craft, fashion and art and that all are valid.

Resource support

Original estimate £500, now increased to £1500 based on current spending and looking ahead to materials costs, and travel to exhibitions etc from expanding my scope. As I am no longer purely making using ‘zero-waste’ then I will have increased material costs to consider than my initial proposals.

I would need access to Millinery studios and photography studios.

I refuse to solve the paralysis paradox through creative innovation alone instead, I make visible the economic and labour conditions that create it, positioning the integration of transparent business practice with creative work, and teaching others to do the same, as the actual creative intervention.