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.