Trans + Here

Mia Evans and Reuben Harris on Reinventing the Graduation Gown

Interviewed by: Lucy Dover (@luce_dover_)

On the 27th July 2025, Mia Evans walked across the stage at her University of Westminster Graduation Ceremony. However, unlike many of her peers donned in traditional caps and gowns, the artist and photographer wanted to take a different approach. With the help of close friend and talented fashion designer, Reuben Harris, the two came together to reinvent the graduation gown. The design had one clear message: TRANS + HERE.

Photography by Max Sigel

In her first year of university, Mia risked expulsion for graffitiing the phrase “TRANS + HERE” on university campus. She was tired. Tired of the transphobia, tired of the lack of visibility and tired of certain individuals mistreating her. The artist was fined £200 as a result. 

Despite the horrifying conversations that have been circulating regarding trans rights with certain politicians calling to completely eradicate our trans siblings, Mia still graduated with first class honours. She knew she needed to revive the statement “TRANS + HERE” now more than ever.

As she walked across the stage, Mia revealed an extravagant Victorian-style gown. Flowing behind her was a long train, dramatic in scale and rich with symbolism. Painted boldly across the fabric were the words: "TRANS + HERE". The statement unfurled with every step, transforming her walk into both a personal triumph and a political act of visibility.

The Sanxtuary sat down with Mia Evans and Reuben Harris to talk about the meaning behind the dress, its design, and the reaction it has sparked since:

“Trans + Here” started as graffiti on a building site. What made you return to that phrase for graduation Mia?

Mia: In 2023 I graffitied ’Trans + Here’ on temporary boarding on site of my university and accommodation for two reasons: to expel my feelings of frustration with transphobia, at this point from individuals rather than institutional, and for trans visibility. It’s a simple message that marks trans existence, I am trans and I am here, we are trans and we are here. I got caught in the act and given a disciplinary warning, one more action and I’m out. I was fined £200 for the paint job, this was reduced from the original £800 that the external building company had charged, and the initial proposal of paying £300. I was told by the head of school that they didn’t disagree with the content of my message but rather that it could incite further reaction, further ‘graffiti’, and that my message of trans existence should be communicated in a more community centred way. When I was in sixth form I was not allowed to use the women’s toilets (though I did), not because they thought I would be a problem, but because of the reaction it may incite, so this explanation was a growing frustration for me. But after this, I used my degree to centre trans communication, both through my self-portraiture and dissertation on transgender photography. 

When receiving the email of graduation details, I found that the £45 cap and gown hire was optional, we receive our degree certificates in post before the ceremony and with a singular audience ticket costing £30.50 after fees, the graduation ceremony is nothing but expensive, elaborate academic theatre. And so, immediately I wanted to reinvent the cap and gown and make it cunt, and of course this meant asking Rueben to help actually make this vision come to life. To revisit the statement was obvious, we are in a time of proposed trans-segregation, and of course the media scrutiny. I had a stage and an audience so it would have been wrong to not have a political message. It was also kind of a fuck you, to circle this message back round to the graduation, after being fined and disciplined for the statement. 

Reuben, what was your starting point when Mia came to you with the idea?

Reuben: I started with research and design. Mia told me was she wanted to "re-invent the cap and gown" and in order to do this first we had to fully understand what the cap and gown was about. The first areas of research and design I covered were: silhouette, fabrication; historical and contemporary versions of the cap and more garment research. Initially I had also looked at textiles as an area of interest but within the project time span silhouette was more of a focus. 

When you wrote it the first time, you were punished, Mia. When you wore it this time, how did the room respond?

Mia: They applauded, very loudly, for the whole 50 seconds it took for me to unveil the train and walk the stage. The applaud came in growing waves. And of course they did, because the dress looked beautiful and the room appeared to agree. But I did have a lot of people sat in the stalls who said “your dress is so beautiful, but I must ask, what did the train say?”. I was unable to sit for the entirety of the ceremony, and so I was standing by the door while the ‘important’ people who sat on the stage were leaving, for which no one is to leave before them, and they all gave their personal compliments to me. I was so nervous to how the room would react, and so it was it was pleasantly ironic to be congratulated by the same institution that punished me two years previous.

How did it feel to reclaim that space, knowing that the same institution once told you to express your trans identity more “appropriately”?

Mia: Telling, Very telling. And of course wonderfully liberating. But this is retrospectively, I was so nervous for it - For the train reveal, for the reaction, but it all went very well. The idea was to take up space and say fuck you, fuck you to the institution, fuck you to the government and fuck you to transphobia. And I think The beauty of the garment really allowed for me to get away with it. But what does ‘appropriate’ and ‘community focused’ mean you know? Trying to find alternatives to peaceful, bold visibility, is a form of censorship. And it is so important when we all come together and create a massive impact, but that does not mean a singular person’s effort can’t have an impact, and I knew that and proved that the first time and would like to say I have done that again.

Reuben, Did you feel like this was fashion, costume, art, or a political tool?

Reuben: All of the above. This piece had elements of fashion, costume and art while also being a political tool. As my work develops it starts to cross between those boundaries more and more and this look was an example of that. But at it’s core it is a political message. 

The UK is in a moment where trans people are being deliberately excluded from legal protections and public life. Did you feel the pressure to say something louder because of that Mia?

Mia: Of course. The EHRC Guidance and toilet bans are a deliberate attempt at segregation. Our Government supports and implements laws to censor, subordinate, eradicate and segregate trans people. I wore the dress  to London Trans Pride, for this very reason. Trans + here is a reaction to personal and institutional governmental transphobia and transsubordination.

Do you think universities in the UK are truly prepared to support and protect trans students, or are they more interested in controlling how transness is expressed?

Mia: You would hope so, but I don’t believe so- This is from what I’ve heard generally. From my own experience I believe support networks and services are definitely there but I was always unsure of how effective they would be. Universities and schools definitely have been more interested in controlling how transness is expressed, because they are scared of facing backlash, and would rather protect face than their own students. But I have found this comes from institutional pressure rather than individual opposition, but this is my own experience and I know people have experienced individual discrimination.

You’ve worked in fashion design before, Reuben. How did this project differ from your usual process or mindset?

Reuben: This project was different from usual as I had Mias input in a lot of the process. All of the decisions and things I’d normally do on my own; I now had a partner to do it with. 

Another way this project was different was the technical requirements of the look. This isn’t my first time making a train but it is certainly the longest train. We didn’t fully know how the stage would be set up or where Mia would be walking so making a train that was an appropriate size and still able to hide in the garment was a task. 

Photography by Anna Bell

There are so many layers to the dress. What design references shaped how you built the silhouette? Was that a stylistic choice, a symbolic one, or both?

Reuben: Three of the strongest design references that informed the silhouette of this look are: graduation caps and gowns, 18th century fashions, and the Sari Skirt - one of my previous works. These were stylistic and symbolic choices made for several reasons. But also Mia came to me with specific wants. Big shoulders and big hips. And so I worked within those parameters.  

What does “being here” mean to you? Has that changed since the Graduation Dress? 

Mia: "Being here" means existence, the state of being alive, not yet dead, present in a space. It means being visible, being seen and reclaiming space. It is also like a checkpoint, I am here, I have made it this far. And taking existence as resistance, it means I exist and you can’t hide that, you can’t erase or eradicate my existence, because I am here, for all to see. After making the dress I feel further affirmed in what it means to be here and how that can be radicalised and political, because the government appears to not want us here, and well here we are and here we’ll stay and here we shall be forever, ya know?

Reuben: To me , Being "here" is very much about being actively present now. Engaging in the world and the people around. In spite of whatever forces are against you. When it comes to the gown ‘here’ was in reference to Mias painted ‘TRANS + HERE’. I took that as a celebration of existence. And the Graduation Dress is a part of that celebration. 

Did either of you expect this to gain the level of visibility and conversation that it has?

Mia: Honestly, yes and I’m hoping for more. My work generally is intended to be as visible as possible and spark conversation, because that’s what incites understanding, education and change. We didn’t go through all of this just so I could look gorgeous, but to create an impact, and of course I want all to see.

Reuben: Yes, although we designed a gown with the intention of being visible and starting conversations I was still surprised at the reaction to the dress. 

What kind of reactions have you received since the post went up: from strangers, peers, or people at the university?

Mia: The online reactions have been beautiful, and of-course there are a few haters, shout out to the haters, I love you. We took the dress to London Trans Pride, the biggest London trans pride event in history with 100,000 attendees, and that’s was gorgeous. There was lots of positive comments at trans pride, but the most beautiful to me were the children who saw me as some kind of princess. It was so lovely that parents brought their children to trans pride, I think it’s really important for people to grow up having met and known trans people, we haven’t all had that experience and I think that’s beautiful. The dress has not been seen as something to be opposed, but rather embraced and enjoyed, and I absolutely love that.

Reuben: Reactions from everyone have been overwhelmingly positive in person and online - for the most part. I think the roars of cheers and applause from the audience in the video of Mias graduation sums up the reactions we have had. 

What is your ideal sanxtuary?

Reuben: My ideal personal sanxtuary is in the top of the mountains with sun and a day bed and a small speaker playing music. 

Mia: My ideal sanxtuary is a free Sudan, a free Congo, a free and recognised Palestine, an end to genocide and apartheid, globally. A UK where Pal Action are not a prescribed terrorist organisation, holding placards and denouncing our countries involvement in genocide is not a terrorist or criminal act. A UK where trans people live in full peaceful recognition and support, where disability is fully supported, where working people are fully supported. A UK that accepts our colonial past and present and teaches present and future generations of our wrong doings. A world free of dictatorship, in which all can breathe and think and grow and live within peace, a world without AI integration and the very planet we live on being on its dying legs because of our own species. That is just a part of my ideal sanxtuary.