An Interview With Candice Georgiadice
Social identity: Appealing to the consumer’s sense of who they are in the world, what they stand for, is essential to success today and in the future. As buyers become more aware of how clothing is really made, it is important for brands to demonstrate how their socially responsible practices — in terms of both environmental and human rights impacts — align with the consumer’s values. Forging and reinforcing this alignment secures for the consumer a go-to source of purchasing confidence and trust, leading to brand loyalty. It also surrounds each purchase with a positive air of hope.
Many in the fashion industry have been making huge pivots in their business models. Many have turned away from the fast fashion trend. Many have been focusing on fashion that also makes a social impact. Many have turned to sustainable and ethical sourcing. Many have turned to hi tech manufacturing. Many have turned to subscription models. What are the other trends that we will see in the fashion industry? What does it take to lead a successful fashion brand today?
In our series called, “5 Things You Need To Lead a Successful Fashion Brand Today” we are talking to successful leaders of fashion brands who can talk about the Future of Fashion and the 5 things it takes to lead a successful fashion brand in our “new normal.”
As a part of this series I had the distinct pleasure of interviewing Catherine Fisher.
Catherine Fisher has found inspiration as a biographer, innkeeper, acupressurist, baker, poem maker and, now, creator of clothing. Catherine Fisher Clothing celebrates the art of expression in the meeting of text and textile. Each sustainably-sourced, ethically-made garment is hand-embellished and/or accessorized to express the spirit of an original poem from which the design springs. The collection embraces the conviction that fewer is better, and supports literacy, the arts, food security, the environment and diversity by sharing a portion of each purchase with non-profit organizations aligned with the theme of each garment/poem.
Thank you so much for doing this with us! Before we dig in, our readers would like to get to know you a bit more. Can you tell us a bit about your childhood “backstory”?
Thank you for asking, and for including me in Authority!
A New Englander all my life, I grew up on the south shore of Massachusetts and have family roots in Vermont and New Hampshire (as well as Pennsylvania.) I’ve now lived in Maine for 28 years.
Both my parents and two younger brothers were/are creative, all of us in different ways. Handcraft, drawing, music, woodworking — it was a house of projects, for sure. Our family home, which we just recently sold to a sweet young couple, was on a cranberry bog and that setting served as an important backdrop — a witness and player in our lives over the years.
As the eldest and the only daughter, I might be considered the headstrong one. Definitely an adult from a very young age, and always rather entrepreneurial.
Can you tell us the story about what led you to this particular career path?
I have a mind that sort of works like a popcorn popper, I guess. A series of eureka! moments has resulted in a succession of endeavors and pursuits. Among other things, I’ve been a clown, dental assistant, and salesperson; an innkeeper, personal historian and acupressurist; a baker, archive worker, poem maker and now, a creator of clothing from those poems.
What all of these things have in common is a fascination with connection and story. I know that what I do and make (just as what you do and make) carries an energy that impacts the receiver of those interactions or objects, and being intentional about that transmission is where the juice is for me.
Each design in my collection of clothing springs from the meaning of a particular poem, and the printed poem accompanies each piece in the packaging. I believe that those ideas are woven into the fabric of the garments and inform the experience of the wearer. The wearer, then, infuses the clothing with their own energy and creates a new thing — a new poem — entirely.
Can you share the most interesting story that happened to you since you began your career?
The “happened to you” part of your question is pulling me right in here, in that so many things have happened during this clothing chapter of my career that were so out of my control, not what I’d thought or hoped or wanted. Now, of course, I can see that each disappointment came with a new opportunity. No doubt, there are more such happenings to come.
To me, the most significant was the pivot I had to make in my original garment concept, which was that the garments would be inscribed with the poems.
For over a year I worked with a wonderful local screen printer to develop a system for printing my handwritten words on panels to then be worked into the garment construction. For some reason it just wasn’t flowing and we were having trouble getting it right. It was a very low spot in this process and I nearly gave up for how sick I felt. Then, it occurred to me that, in seeing the garment itself as the poem, having the words — my words — printed there was actually redundant, and didn’t leave any room for the wearer to make it their own. I immediately began designing hand-painted graphics to replace the text, and am so happy that their abstraction hints at the poetic origin of the garment without making it all about the actual words. And painting each one individually gives me a lot of control and connection.
You are a successful business leader. Which three character traits do you think were most instrumental to your success? Can you please share a story or example for each?
Being a good collaborator is definitely a trait that I’ve developed since I began the clothing project. Many of my past incarnations were somewhat solitary endeavors, but as a newcomer to apparel and manufacturing in general, I’ve had to rely on the expertise, skills and guidance of others. This has brought me into fruitful relationships that I would not trade.
For example, instead of buying mass-produced calligraphy brushes, which are accessories included in my Brush duster, or trying to learn to make them myself, I collaborate with Wendy Pieh, a Maine organic cashmere goat farmer, and Ying Zhou, a master brush maker, to create one-of-a-kind works of art. I gather driftwood sticks with friends on Maine beaches, send the sticks and the goat hair to Ying in Florida, and receive back something utterly unique and special. Not knowing it all, and letting other makers do their thing, is really where it’s at.
At the same time, believing in myself is a trait I’ve had to ramp up exponentially in order to succeed. A general guiding principle, in thinking about success, is, “Why not me?” So in practice, I reserve many aspects of the work to do myself rather than hiring out because it helps me grow, keeps the product mine and ensures I feel connected to the wearer. Seven of the designs in my line have hand-painted panels sewn in, and I paint all of those individually. In this area, even though I’m not a classically-trained artist, I am the expert in what I want those panels to be. I need to believe they are good and right. My confidence and its growth have been essential.
And, persistence. My persistence has been tested over and over again — the evolution of this company has not been easy or smooth. Some people have proven to be those great gifts of collaboration, and others haven’t been very nice. A contractor doesn’t communicate or care; a key recycled fabric is discontinued; or I hit the next limit in my knowledge. I just keep moving forward. I just keep going. And learning.
What do you think makes your company stand out? Can you share a story?
On the face of it, a sustainable clothing line that lives at the intersection of fashion, art and writing, with a focus on connection to the wearer and giving back, does beg some notice. It’s not always understood at first glance, but once people get it, they become excited and invested.
I think another stand-out is our commitment to diversity in garment sizes (XS-2X) and the racial, gender, age, size and sexual diversity of our website models and intended wearers. Our website’s Collection page does not look like that of most brands. I’m striving to connect on a deeper level. All wearers are welcome.
Do you have a favorite “Life Lesson Quote”? Can you share a story of how that was relevant to you in your life?
This passage from the memoir How I Became Hettie Jones, by Hettie Jones, was tacked to my door in college and has been pinned and taped to many bulletin boards and refrigerators in the ensuing decades: “The idea, as I saw it, was to ease the possible past the expected, and in this eerie solitude, while the rest of the world was home in bed, I’d feel closer to the edge, the spillover point that might push out something, make the coming move clear. What should I do now to make myself happen? What’s next?” Becoming, for me, is a lifelong art. As you’ve probably gathered by now, I like reinvention, and am in love with change.
“I dwell in possibility,” Emily Dickinson’s line describing poetry as the place she inhabits, has also been a tickertape running as a loop in my mind for always. I need that to be true.
Ok, thank you for that. Let’s now jump to the primary focus of our interview. Do you see any fascinating developments emerging over the next few years in the fashion industry that you are excited about? Can you tell us about that?
Well, speaking of possibility, I’d say the fashion industry is doing just that — dwelling in possibility. At the intersection of textiles and science is bio-fabrication, and more sustainable fabrics and vegan leathers are being made from seaweed, pineapple husks, fungus, algae, tea and yeast, just to name a few. As high-profile brands like Stella McCartney, Eileen Fisher and Everlane continue to incorporate recycled and even bio-fabricated materials into their lines, other brands will hopefully follow suit and consumer demand will rise. Increased focus on closed-loop manufacturing is another exciting area to watch. Materials used in production can be reused, and at the end of the garment’s life, it can be recollected as post-consumer waste and turned back into raw materials to create more of the same type of product.
Can you share how your brand is helping to bring goodness to the world?
I love this question! Because, in addition to not wanting to participate in the badness — in proliferating unethically-manufactured and unsustainably-sourced products — bringing goodness is really the whole point, right? First, I hope that the garments themselves, and the poems that inspired them, will add something to the lives of those who wear them, or those who just visit the site and enjoy the images and read and listen to the poems.
More to your question, each purchase benefits two organizations — one local to Maine/New England and one national/international. The organizations are chosen for their alignment with the topic of the poem and its garment. For example, the sales of the Latchkey jacket, which springs from a poem about abandoned houses and rooms of the soul, benefit two organizations that fight homelessness — Habitat for Humanity nationally and Preble Street Resource Center in Portland, Maine. The Brush duster, whose poem “Brush” likens the graze of a fingertip on skin to the touching down of a paintbrush on paper, benefits the National Museum for Women in the Arts and the locally-based Indigo Arts Alliance for artists of African descent. I love this aspect of the work so much.
Can you share with our readers about the ethical standards you use when you choose where to source materials?
My company is still somewhat young, and I’m fortunate in that I created my line completely married to ethical and sustainable practices from the very beginning. I consulted at the outset with the Brooklyn Fashion + Design Accelerator, an experimental sustainability hub created by Pratt Institute in New York. I took from there a list of vetted sources for materials, both importers and manufacturers, as well as greater understanding of beneficial apparel design and construction. The landscape is ever-changing, and new information and approaches are being developed all the time. There’s so much to learn!
Limiting ourselves to environmentally-sustainable fabrics and notions, made from natural or recycled materials, makes up one half of the equation, and the other key piece is ethical production. If I am not buying direct from the maker of the material, I can trust that the vetted vendors I work with do not buy from factories that employ child labor, exploit workers with low wages and unhealthy, unsafe working conditions, or abuse animals.
Fast fashion has an advantage, that it is affordable for most people, but it also has the drawback that it does not last very long and is therefore not very sustainable. What are your thoughts about this? How does your company address this question?
The higher cost to the consumer of garments that are manufactured sustainably is most certainly a very real issue. Now, choosing upcycled and recycled clothing is a great way to add to a wardrobe without supporting detrimental practices. Another way is to buy fewer but better pieces, those that are well-made, timelessly styled and meant to be enjoyed for a long time. In this practice, the cost may even out over time, and a byproduct may also be a more keenly-honed sense of one’s personal style and identity that happens when making more thoughtful choices.
I am very conscious that the retail price of my garments is not within reach for many people if they are still purchasing the same quantity of garments per season, say. I know that I have paid well everyone involved in their making, I know that the materials and their manufacturing are healthful for humans, animals and the planet, and I know that this makes their price higher. I try to tip the scale toward equity with our Giving Back initiatives, and I hope that ultimately, when combined with the “fewer is better” model, the ultimate math will end up where we need it to be.
Thank you for all that. Here is the main question of our interview. What are your “5 Things You Need To Lead a Successful Fashion Brand”. Please share a story or example for each.
I find that successful brands make garments that have a story, and that they sincerely connect those narratives to the stories of consumers in these five areas:
Personal Identity: When brands understand and encourage buying fewer and better, they guide the consumer to curate/hone their look with only those items that really reflect their image and amplify their style, resulting in strong identification with the brand.
In the case of my line, each garment is born from a story, a poem that touches on universal questions and themes. When those themes, and the garment that embodies them, resonate with a person, there is a stronger reason for the wearer to bring that item into their wardrobe. Also, my own story is one of evolution, of becoming, and I think many people can relate to that.
Social identity: Appealing to the consumer’s sense of who they are in the world, what they stand for, is essential to success today and in the future. As buyers become more aware of how clothing is really made, it is important for brands to demonstrate how their socially responsible practices — in terms of both environmental and human rights impacts — align with the consumer’s values. Forging and reinforcing this alignment secures for the consumer a go-to source of purchasing confidence and trust, leading to brand loyalty. It also surrounds each purchase with a positive air of hope.
Greenwashing and lies by omission, however, are not OK. When it is discovered that a brand has misrepresented their practices, such betrayal of the consumer’s trust can, and should, result in a punishing backlash.
I try to emphasize that we are all continuing to develop best practices in order to make the change real and lasting. We’re not there yet, but I know that those who are part of the CFC community see themselves as part of a movement for good.
Philanthropy: Brands that give back to particular causes enable the consumer to accomplish two things at once — care for themselves by purchasing clothing, and support something good through an easy, no-cost donation.
As I’ve said, each purchase of CFC clothing benefits two identified organizations specific to that item. Links to all organizations are on the website so that people can learn exactly what their money is supporting. Literacy, the arts, food and housing security, the environment and diversity are the main areas of focus. It is exciting to see these donations grow.
Feelings: Emphasizing the positive feelings sewn into the fibers of a slow fashion garment, and not just the negative ones intrinsic to knowingly supporting fast fashion, is really important. We offer not only the enjoyment of wearing the pieces, but also the pride and joy one can feel in doing good — and that never washes out. Guilt and pride are two powerful emotions, and choosing slow fashion just feels better each time you put it on.
In addition to the customary listing of a garment’s materials, I try to be as transparent as possible on my website about the what and who of each garment and accessory, and also about the internal practices of the company — packaging, stationery, studio supplies, etc. Transparency builds trust, and also keeps me honest in honoring that trust and making sure my choices are something I am happy to lay out there.
Uniqueness: Finally, where possible, brands that incorporate the handmade, upcycled, and made to order offer to the wearer the pleasure of being unique. Independent brands that highlight the maker’s identity foster the desirability of wearing things that are special and connected in a personal way.
In the end, I believe that what makes these pieces unique and special is the energy of the wearer and how that connects with the ideas from which the designs spring. The spirit of the person who animates each garment brings it all to fruition. My focus on the wearer, that relationship, is where it begins and ends for me. I am grateful for their choices, and work to honor our connection long past each purchase.
Every industry constantly evolves and seeks improvement. How do you think the fashion industry can improve itself? Can you give an example?
Transparency. We must be truthful about our own brand’s practices and our goals and plans for improvement. We must strive to be a brand that is rated as a “Rockstar” rather than an “Offender” by organizations such as Remake. Transparency is one key piece of making change — that consumers demand it and brands step up.
Planning and Restraint. We need to cease to overproduce garments that then end up in landfills. Make fewer.
Knowledge and action. We must know the composition of our materials. Stop using non-biodegradable fabrics, including recycled polyesters, and materials derived from animals. Limit our choices to organic, renewable and biodegradable fibers. Be clear about who makes our garments, under what conditions and for what pay, and stop running or using factories who exploit workers and use child labor. Just STOP. Monitor the use of natural resources and energy that go into the manufacture of our products and make choices to reduce carbon emissions, reduce water and chemical usage, and stop the pollution of our waterways.
You are a person of great influence. If you could start a movement that would bring the most amount of good to the most amount of people, what would that be? You never know what your idea can trigger. 🙂
I love the ginormity of this question. I’m thinking locally right now, hoping to band together local designers and manufacturers to deal with our cut-and-sew waste in more innovative ways, ways that provide new opportunities and foster new industries. Getting the larger scraps to local artisans for their creations, and shredding smaller scraps to create filling that might be used in pillows, dog beds and even insulation. If we got a grant and developed a central hub for this kind of operation to serve our state, and perhaps New England, it might then become a model for other states. Keeping the hubs as local as possible would avoid the additional carbon emissions created in trucking scraps any great distances. It’s a thought. Everything begins with a thought, right? A thought based in a feeling of possibility.
How can our readers further follow your work online?
https://catherinefisherclothing.com/
https://www.instagram.com/catherinefisherclothing/
Thank you for these fantastic insights. We greatly appreciate the time you spent on this.
Photography Credit for All Images: Lissy Thomas Photography
Modern Fashion: Catherine Fisher On The 5 Things You Need To Lead a Successful Fashion Brand Today was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.