At events, sometimes the smallest details are the most memorable - especially when they’re personalised. Stephanie Fishwick’s distinctive calligraphy and digital collages have graced luxurious invitations and place cards for some of the world’s most high-profile invitees. Here’s how her story, as one of the industry’s most sought-after calligraphers, was written.

How did it all start?

My paternal grandmother was a professional painter and illustrator. My maternal grandfather was also an artist and writer, and I inherited his drafting table. They were both gone by the time I was in elementary school, but many of their belongings ended up in our basement. I spent hours poring over their enormous, leather portfolios; leafing through their work on reams of watercolor papers and newsprint drawing pads. A pivotal moment came when I was about 7 and it was agreed that I would also inherit my grandmother’s art supplies. Inside a large metal bin were high-quality materials like paints, brushes, writing instruments, charcoals and calligraphy tools. Making art was my favorite activity and my parents, who caught on pretty early to that, enrolled me in extracurricular art courses through high school.

Where did you train?

In 2004 I graduated from VCU’s art school with a BFA in Communication Arts & Design and worked in the Graphic Design field for eight years. I continued to create with pen and ink and collage using my inherited calligraphy supplies in my spare time, eventually even addressing my own wedding envelopes in 2009. A lack of fundamental training in calligraphy always held me back from taking it to the next level.

In 2010 I got a bit closer to my calling on a trip to Paris with my husband. That city will always have a really special place in my life as it really “came together” for me there. It was a September afternoon and we stumbled upon Mélodies Grafiques in Le Marais. I just about cried over the beauty in that little shop and I can still feel what it was like to be inside such a beautiful and peaceful place. There was handmade paper on display in piles, glass jars full of fresh wooden pen holders, metal nibs, marbled paper, handbound books, small pots of ink with pretty labels. The owner at the time, Eric de Tugny - a master calligrapher and illustrator - had his insect illustrations on display.

The aesthetic experience of calligraphy has me hooked. It’s incredibly relaxing - the feel of the inks and paper, the sound of the nib scratching across the page - all of that came together as my husband and I sat along the Seine and I tried out my new calligraphy purchases. A year and a half later I decided to quit my job as a designer and pursue art full time.

Living on the East Coast it’s not hard to find calligraphy courses. I found a master calligrapher in my town, who studied under Sheila Waters, and I took private lessons from her in Italic Calligraphy. I also joined the Washington Calligrapher’s Guild and signed up for workshops. The big one: a copperplate intensive with Pat Blair (the White House Chief Calligrapher at the time). After that weekend I felt that I had a handle on copperplate fundamentals, and I felt more confident in the style my hand naturally creates.

What sets you apart?

Along with classic styles of calligraphy, I can do lots of other hand-lettered script styles with many different writing instruments. I think my work is different because I juxtapose my scripts with elaborate digital collages that I make on the computer. My collages are personal keepsakes full of motifs that carry meaning for each client.

Do you have a particular style or aesthetic?

I’m a visual junkie! I love the Japanese phrase “mono no aware”. It means "the pathos of things", and is also translated as "a sensitivity to ephemera". On any given day my influences change; but always flowers, plants, vines, animals, insects and other characters. Right now I’m inspired by Arthur Rackham’s illustration work, Black Sabbath, Victorian Valentines and a demented sort of femininity. I love uncontrived, gossamer, poetic, sad, lush, dark things with a sense of humor.

Why handwritten invitations for a party, as opposed to digital ones?

A handmade, personalized keepsake is a true luxury.

What is the influence of calligraphy on an event?

I think it elevates things the same way a live quartet, a chef or a floral designer can. It’s literally art in your hand/on the table. When a guest receives a hand-calligraphed envelope in the mail, it’s a rare luxury delivered to their door, personalized for them. Our clients always share all of the excited text messages they receive; Instagram posts and general buzz surrounding their event!

Tell us about the process. Are you going out and trying to find clients, or is it people coming to you?

It’s a lot of word-of-mouth. Clients usually reach out to us through the website or are introduced by a former client, friend or their wedding planner. We are very lucky that our clients tell their friends about us!

What’s a typical day for you?

My husband and son leave for the town; work and school respectively. I listen to The Daily podcast by The New York Times while I get ready for the day. I take my second cup of coffee out to the studio by 9am – an outbuilding on the property – and respond to any emails that came through. My studio manager Vivian books projects so expertly, so I typically have a full To-Do list ahead of me (we use Trello to manage my calendar) that includes a mix of digital collaging, calligraphing, designing or phone meetings with clients. I break for a proper lunch around 11:30 am, take a walk around the yard and then make a simple lunch, and I sit in our breakfast nook and catch up on the news or Insta while I eat. I’m back in the studio until 2:45 or 5pm depending on the day. Somedays I go hunting for inspiration, antiquing or to a used bookshop, or perhaps a stop at my favorite cafe downtown for an iced chai. Around 6pm my husband and I share a glass of wine while we walk around the yard and catch up. He cooks dinner for all of us and weekday evenings most often it’s us three as a family doing something very chill like listening to music, reading or watching a Netflix show. We are old school - no screens at all in our bedroom - so then it’s nighty night.

How important are the digital and social elements of what you do?

Very important. I love Instagram. I follow so many inspiring interior designers, decorators, textile companies, calligraphers, meme accounts, artists. My clients find inspiration for our collaborations with them by scrolling through my feed. I love using Instagram Stories to show what is going on in the studio, off the cuff, and connect with friends and followers.

What makes a great event?

I think the best events are guided by someone who really understands how to host.

What makes a good host?

A good host knows that guests should be offered refreshment upon arrival, they should not have to guess or wonder at when or where to sit. The best hosts plan out events in stages. An event should unfurl. The cocktail conversation should not be too long. The food should be somewhat of an indulgence. There should always be cigarettes and loud laughter. And my number one: toasts are an art form. Do not give the reins over to just anyone!

And what do you think it’ll look like 20 years from now?

I’ve said this to my husband many times throughout my time working in the event world: American culture doesn’t require hardcore ritual as much as a lot of the world. We’re pretty independent and relaxed; a wonderful mix. Weddings are one of the last vestiges of true tradition, no matter your religious, social or demographic group. Because a wedding is this amazing “family affair,” I think we will see weddings continue to be a milestone for all generations. The hashtags, fashion and venues may change, but we will continue to gather and celebrate love. I for one can’t wait to go to another wedding.