The third annual British Hat Guild exhibition at Hat Works showcases the incredible hats of many leading UK milliners. It spotlights the creative ways milliners are working towards a greener footprint: from the traditional use of natural materials, to upcycling and the use of waste and innovative new generation materials.
As part of the Sustainability Committee of the British Hat Guild, we had such fun organising this exhibition and educating ourselves on the way! You can view the full list of exhibitors here: The British Hat Guild
Our hat for the exhibition, Mock-strich, was an experiment with faux feathers.
While studying Fashion at university, I dedicated my dissertation to researching the fur trade, aiming to determine whether fur had a place in my creative practice. The outcome was clear: I chose not to use fur, and I could argue my stance with a well-researched and principled argument. This decision has remained integral to my values, and Bee Smith Millinery has proudly been fur-free from the very beginning.
However, it wasn’t until I attended a lecture hosted by Collective Fashion Justice and the British Fashion Council – highlighting the realities of feathers in fashion – that I realised the need to explore alternative options.
Feathers have long been cherished in millinery for their ability to add volume, texture, and elegant detail. The Plumage Prohibition Act of 1921 marked a turning point, curbing the use of exotic and endangered bird feathers and reducing what was once dubbed “Murderous Millinery.” Yet today, feathers remain prevalent – most commonly from ostrich, peacock, and pheasant. I had always assumed ostrich feathers were ethically sourced, either through natural moulting or non-lethal plucking, but I’ve come to suspect the reality is far more complex.
Determined to reimagine the softness and drama of an ostrich-brimmed hat without using feathers, I designed a piece that relied on ruffled tulle for volume and incorporated a faux-feather fabric from Ecopel™. The base was crafted from re-blocked vintage hats, buckram, and finished with layers of blush-toned tulle. This is the beginning of an ongoing exploration into perfecting my faux-feather technique. It’s not quite there yet—but like all good craft, it takes time, experimentation, and practice.
