AOW Insider | Interview: Artisan Brand & Sustainable Business Tips from Harper Poe

This month, I'm delighted to present an interview with Harper Poe, someone I always love speaking to about the artisan sector. Harper was the founder of Proud Mary, an artisan accessory brand she began back in 2008. While she's no longer running this business she has a deep love for the field and has been working more recently as a designer for retail chains, doing her best to incorporate artisans into their supply chains. 

We speak about whether artisan can align with the business models of large retailers, how the field is shifting, her tips for success and what's keeping her inspired during 'The Great Pause' of life during Covid.

Let’s dive in!

What are your overall thoughts on where you think the artisan sector is going?

I think on a macro scale, sustainability is really coming into the forefront of all conversations regarding fashion, accessories, and home décor. It is literally what every trend forecaster and fashion site is talking about. That is exciting but also a bit daunting because the artisan sector really needs to figure out how to capitalize on this movement. 

What do you see that’s working (or not) in terms of brands collaborating with artisans?

In general, I think we need to be much clearer with our language. We talk about artisans and artisan makers in a broad sense but need to realize that “artisans” include masters, craftspeople, artists, designers, and skilled laborers. These are very different groups with very different skill sets and needs. I think we all need to recalibrate our terminology within the sector so we can better serve each group and grow the sector. Recalibrating our terminology would also help brands decide which maker groups are best suited for partnership.

We’ve seen everything through the brand’s perspective for a long time. I’m dying to read and hear about the sector through the eyes of the artisans themselves. I hope we can get there because I think it’s important and will help redistribute power. 

You have experience with large retailers who are looking to work with artisan producers. From what you’ve seen, how well can artisan producers really fit into this model?

I think artisans and large retailers are a tough fit, at least using the current model. Cost, quality, timing, capacity, and payment cadence are all pressure points that make this relationship risky for both parties. Both must be willing to bend to the other’s needs to make it work. It must be a reciprocal relationship and not many large retailers are used to operating in this manner. Large retailers must accept higher costs as well as the possibility of longer lead times and lower capacity. Artisans must adhere to strict quality control, be flexible with payment timelines and be very careful with production lead-time promises. 

I have seen a lot of large retailers choose to support artisan initiatives through third party brands – it’s much less risky and requires much less work but both parties still need to be invested in nurturing the relationship. This is where a production manager, exporter, or NGO bridge can be essential. They are a necessary middleman that understands the needs of each side.

I also see opportunity in realizing the potential of artisans outside of production. It’s something I’ve been marinating on recently. There is so much creative capital in traditional craftspeople and folk artists around the world. The fashion, home décor, and lifestyle industries already use their designs as inspiration – why not create a conduit so they can be credited and capitalize on their creative assets?

Knowing what you know now, if you were to do it all again, what business model would you have started with for your brand and why?

I think I'd start with online retail, direct to consumer. Wholesale is a safer bet for getting your goods out into the world but with each additional layer to your supply chain there is an added cost and a dilution of the origin of the craft. Direct to consumer is very capital intensive but allows for a closer connection to the end consumer. I always thought I wanted a brick and mortar shop and I did have a version of that for a few years but you really have to commit to being there and investing in that community and I was (and still am) in travel mode so it didn’t really make sense at the time. Maybe when I’m “retired” I’ll set up another little shop!

If you were to give a new business owner working with artists three business tips for success, what would they be? 

·      Pick a lane – unless you have extensive resources it’s best to pick a technique, category, or country and really dive in to specialize

·      Determine your sales channels in the beginning and set your strategy accordingly as it dictates everything

·      Involve artisans in your design process and aim for true collaboration 

When it comes to marketing, what have you seen that actually boosts sales? 

In terms of direct sales for Proud Mary, working with influencers really worked. Eva Chen wore some of our shoes and knitwear once and we sold out immediately. That was several years ago and things change very fast. Brands have to engage authentically and frequently with customers online. I think Lizzie Fortunato does a great job of this. Regarding wholesale, I did the shows for years and sales actually went down each year. I don’t think the show model is exciting or effective anymore and they are REALLY expensive. I think there is a big opportunity for a digital sales platform – something exciting to transport buyers to discover (and buy) all of these beautiful crafts.  

Can you explain a bit more when you say digital sales platform? What does this really look like to you?

Because makers, brands, and retailers won't be traveling anytime soon I think a digital tradeshow/showroom is going to be necessary. Online platforms already exist, like Faire, but nothing beautifully curated like Shoppe Object or specific to a country like New World Crafts in Guatemala for example. 

What does a day in the life of Harper look like?

COVID life is definitely different than pre-COVID life. My son and I left Philly mid-March to go down to South Carolina where my family is. Being a single mom I couldn’t imagine being in the city alone with my little guy for months on end. We spent 4 months on the coast topped off with a road trip to Colorado before headed back to Philly and work late July. I realize how lucky I am to have been able to have those experiences during this time. It’s all been so intense and raw but also beautiful. I considered “The Great Pause” as a real opportunity for deep connection across all aspects of life and hoping that slowness and connection sticks around. I try to get some form of exercise in every day – walking, LEKFIT, or just chasing my son around. I’ve been absorbing a tremendous amount of content around COVID and what the world might look like after especially in regards to sustainability, fashion, ethical production, and craft. But, also very preoccupied with American politics.

Where are you looking for inspiration?

My favorite email each week is ‘Saturday Marnin Cartoons’ from Forsyth Art.  It’s full of gorgeous imagery that transports and inspires. I’ve fallen for Kate Bowler’s daily Instagram chats and podcasts. She’s a teacher at Duke’s Divinity School. Regardless of your beliefs, her messages on hope and being alive are so refreshing. I read Business of Fashion every day and always check in to see what Gretchen Jones has to say. And, one of the most beautiful things I’ve watched recently is African brand Tongoro’s documentary. Loooooved it!

Where are you looking for the latest on trends and product forecasting?

Li Elderkoort is an important voice and advocate for craft, Vogue Business has a lot of interesting content around sustainability, and I really appreciate Celine Semaan's voice. As far as trend forecasting goes I think it's less about checking trend boxes now and more about process and does a product help you experience LIFE.

Here are some of the feeds that have been inspiring me lately:

@slow_roads, @orendatribe, @borderandfall, @appetitefordecoration, @apatchofskye @theslowfactory, @mozhmozh_  @duroolowu, @amareazul_ , @blancamiro, @consciouschatter, @intersectionalenvironmentalist

What brands have done well in your eyes when it comes to storytelling?

Some of my favorites are Injiri, Escvdo, Orenda Tribe, and retail platform, Industrie Africa, they do such a beautiful job of balancing product and telling stories of provenance.

I've also learned so much from Adire African Textiles and the descriptions of his textile collection.

When you get in a rut, what helps you persevere? 

Travel always does the trick. Being somewhere where I don't speak the language or know my way around, I am the most present and grounded version of myself. That gives me the knowledge to know whether I'm on the right path and should keep going or change course. 

Anything else you’d like to add? 

A word that keeps coming up in conversations lately is collaboration. I think there is an opportunity for brands, artisan groups, and suppliers to collaborate to provide better services for themselves and the sector as a whole. 

I also think there is a lot of opportunity for brands and artisans to expand on their storytelling in a real, authentic way that doesn’t traffic in ‘poverty porn’.

What’s next for you?

I’m currently working with a group of people involved in the sector to put together some creative solutions to present at SoCap this Fall. I’m going to continue being an advocate and cheerleader for artisan folk art and traditional craft companies in any way that I can.