Andrêssa Faiad’s love for fashion began as a child, tucked under her mother’s sewing machine, a Singer 666 that hummed as it created trousseaus and household essentials. By the age of eight, she was already stitching clothes, and at that young age, she debuted in a sustainable fashion show featuring Embrapa’s colored cotton, a project her late aunt Marta Gomes Faiad, a biologist, helped develop. By thirteen, Faiad designed her first wedding dress, and at seventeen, she founded her own clothing brand, Callicore Moda Sustentável.
Each of Faiad’s creations is one of a kind, crafted from fabric scraps and recyclable materials. She could have thrived as a self-taught designer, guided by a deep intuition for fashion, culture, aesthetics, and sustainability. However, she recognized that a formal education was crucial in the competitive market. Thus, she studied Fashion Design, Styling, and Costume Design at Senac and Belas Artes in Goiânia, and later, Social Communication, alongside various specializations.
In the 1990s, the term “sustainability” was far from mainstream. Ecology was a buzzword, and recycling had just begun to emerge as a key environmental practice. For Faiad, the principles of sustainability were deeply intuitive. “I was fascinated by butterflies and felt a strong connection to the earth, the planet, and nature,” she recalls. She wanted to use fashion as a means of transforming the world, turning what was seen as waste into luxury. “I realized that there is no such thing as waste,” Faiad explains. The name “Callicore,” after the subtropical butterfly genus, represents her belief in the interconnectedness of nature and balance.
Over the next two decades, Faiad honed her craft in São Paulo, where she presented her designs and led sustainable fashion workshops with Oficina Callicore. Her work also took her to the world of costume design, including the impressive task of creating 588 costume and accessory items for the 2022 performance of The Nutcracker at São Paulo’s Theatro Municipal, a project that involved 388 students and was completed in just 26 days.
In 2024, after a challenging period marked by health issues, Faiad returned to Brasília to be closer to her family. Her family’s Lebanese and Syrian roots deeply influenced her work, particularly the cultural aspects of her designs. “I’ve always been inspired by Arab culture—the embroidery, fabrics, and tailoring,” says Faiad. “I’ve designed pieces for a Muslim clothing brand, including scarves and dresses for women.” Despite never having visited Arab countries, Faiad’s work has global reach, including a 2014 collection shown in Dubai alongside jewelry from a friend in India.
Sustainable fashion has undergone tremendous changes since Faiad began. As more brands have entered the market, Faiad reflects on how the term “sustainable fashion” has evolved. While many brands adopt the term, she believes true sustainability goes beyond superficial efforts. “A truly sustainable fashion cycle involves clean, renewable energy, and materials that are recyclable or biodegradable, all while ensuring ethical production,” she asserts. Faiad offers a ten-year warranty on her pieces, a stark contrast to the short-lived products typical of fast fashion.
Her creations are always unique, often incorporating discarded materials like coffee filters, shampoo bottles, and even food scraps. Faiad also takes a hands-on approach to her business, welcoming clients into her home office, which doubles as a showroom. Now back in Brasília, she’s focusing on reinvention, planning to invest more in online sales while continuing her participation in open-air markets and festivals. Notably, she owns a Kombi, which she uses as a mobile boutique—a project she started during the pandemic to support her business.
The pandemic also led Faiad to rethink her approach to work. After battling cancer and undergoing surgery and treatment that left her with lasting effects, she now uses a cane to walk. “The physical limitations I now have have made me reconsider how I work—focusing on creativity over productivity, producing only what’s necessary,” she says. “Life is much more than a product, and the life of a product needs to be more sustainable.” This reflection aligns with her long-standing philosophy: mass production is unsustainable, and the world cannot bear the burden of excessive consumption.
Faiad’s journey continues to evolve as she prioritizes health, creativity, and sustainability in every aspect of her work. Her story is a testament to the transformative power of fashion—not just as an art form, but as a tool for change and responsibility.