I've always been interested in the traces people leave behind. A faded photograph, a jacket that's been altered over time, the way a sleeve softens and moulds to the wearer after being worn hundreds of times. These small details often reveal more about a person than the moment they were first made, and they've shaped the way I think about fashion. My work begins with observation. My research comes from my family's archive of photographs, where I find myself returning to silhouettes and quiet rituals of everyday life. I'm interested in how clothing reflected care, identity and changing ideas of femininity across generations. This way of working became the foundation of my final collection, which draws directly from my family's history and the sentimental value of the objects they left behind. Familiar silhouettes inspired by the 1940s and 1950s are reimagined through a contemporary lens, balancing structured tailoring with softer, more fluid forms. Throughout the collection, I translated family photographs into textile developments that explored the layered nature of memory. Frayed edges, created using my own broken-needle technique, reveal the layers beneath the surface, while considered finishes and trims speak to care, preservation and the passing of time. I wanted the textiles to feel lived-in, carrying a sense of history rather than appearing untouched. I collaborated with a milliner from Leicester to create a series of bespoke felt hats. Informed by the women in my family photographs, they borrow proportions, silhouettes and subtle details from the way they dressed. Rather than functioning simply as accessories, the hats became an extension of the garments, reinforcing the collection's exploration of heritage, identity and everyday ritual. Working with a craft rooted in my home city also allowed me to celebrate regional craftsmanship and connect the collection to my own upbringing. Making is where my ideas become clear. Sampling, textile experimentation and construction aren't separate from my research, they're how I think. My textiles are never developed solely for decoration; each technique is chosen because it contributes to the collection's narrative and the emotional response I hope it evokes. Studying Fashion Design at the University of Westminster, alongside internships at Emilia Wickstead, JW Anderson and Chopova Lowena, has strengthened my appreciation for craftsmanship. I'm interested in creating clothing that feels considered and lasting pieces that invite people to slow down, notice the details and build a relationship with what they wear over time.