eileen fisher home tour

The Simple Life: Eileen Fisher's Home Tour

Photo credit: Gentl & Hyers

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A First Look at Eileen Fisher’s Fall Home Collection at Garnet Hill (Plus a 20 Percent Off Offer)

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For more than a decade, Garnet Hill and Eileen Fisher have partnered to offer a collection of home goods that embodies the brands’ shared ethos. Their latest collaboration: The new Garnet Hill/Eileen Fisher fall collection, featuring handcrafted textiles made from sustainable fibers. Including bedding, bath essentials, rugs, and storage, the collection takes its inspiration from craft traditions near and far (from Indonesia and India to Maine) and furthers Eileen Fisher’s mission of supporting global initiatives that empower women and girls and advocate for human rights. Join us for a look at the just-launched collection.

N.B.: Now through September 5, save 20 percent on select Eileen Fisher styles available exclusively through Garnet Hill.

Ready to see more? Browse the whole collection on Garnet Hill’s website , and don’t forget to shop during the Eileen Fisher Event to save 20 percent (through September 5).

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In the Future, We’ll All Be Wearing Eileen Fisher

By Bridget Read

On the drive to Eileen Fisher from New York City, the trees almost made me cry. Green, green trees, light ones and dark ones, big and small (I could clearly stand to brush up on my dendrology), becoming more densely packed and joyously leafy as we zoomed up the Hudson. The brand’s headquarters in Irvington, New York, are only a little over an hour away from the city, but the change in air quality says further. Manhattan has trees, of course; but most of them are organized and lonely, like lampposts. “These trees!” I wanted to scream, Lorax-style, as we got closer to her .

Eileen Fisher is a name that conjures peace. The kind you get from living somewhere with an abundance of trees, and from wearing elegant, unrestrictive fabrics. A few years ago, Janet Malcolm described Eileen Fisher’s devotees, who have been flocking to her basic, flowing clothes since 1984, as “the cult of the interestingly plain.” I call it sartorially unburdened.

When I first moved to New York, I went to a party with a coworker where we met a girl who worked at Eileen Fisher, in the corporate office on Fifth Avenue. My friend and I were publishing assistants at the time, working far more hours than for what we were paid, for people who made several times more money than we did. We wore Eileen Fisher, known between us as simply “Eileen,” which we bought at Century 21, or with gift cards our bosses gave us as birthday presents. Tasteful trousers, silk box tops, and linen dresses made us feel more in control and dignified than our circumstances allowed us to be. When we met this woman, who had escaped our industry, creaking along in lean times, for a job at Eileen, we said to each other, “That could be us one day.”

Five years later, my former coworker really does work at Eileen Fisher, after searching fruitlessly for a promotion as an editor. Janet Malcolm might be surprised at this trajectory; in addition to a cult, she also described Eileen Fisher–wearers as “women of a certain age and class—professors, editors, psychotherapists, lawyers, administrators—for whom the hiding of vanity is an inner necessity.” In her estimation, editors wear Eileen Fisher; they don’t go to work for her. Maybe that used to be true. A certain stereotype that your mom shops at Eileen Fisher endures. But what about Eileen’s younger customers, a small but devoted cadre of Gen-X and millennial women who, yes, aspire to the intelligentsia but for whom economic precarity has made that work increasingly inaccessible? There are a number of high-end labels that now evoke the clean, minimalist style that Fisher is known for—The Row and Jil Sander come to mind—but none offer it at Eileen Fisher’s more reasonable price point. For the younger set, “the hiding of vanity” isn’t so much the issue—the issue is whether or not one can afford to be vain at all.

And then there is the allure of Eileen herself. Elusive and shy, known by her signature gray bob and dark-rimmed glasses, Fisher bucks the grating “girlboss” management style that has boomed in the last few years—despite, of course, having an eponymous, largely women-run brand that has made her a millionaire. In an era in which women are still trying to figure out how to work and live and look, Eileen the concept has become a kind of refuge, a mantra. And the fashion world is finally catching on. My trip to Irvington on a morning in April was prompted by the announcement that Fisher will be honored with the CFDA’s Positive Change Award on June 3 for her commitment to sustainability.

Nowhere is Eileen’s rise in relevancy more evident than in the brand’s environmentalism, a longtime priority that has suddenly come into vogue as the fashion business scrambles to adapt to mounting evidence that it is one of the world’s worst climate change offenders. Textile production creates 1.2 billion tons of greenhouse gas emissions annually, according to a recent study by the Ellen MacArthur Foundation . And that’s only going up; 25.5 billion pounds of reusable textiles are thrown away each year (70 pounds per person).

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By Elise Taylor

By Christina Holevas

Eileen Fisher is at least a decade ahead of the pack, founding its first recycling project, then called “Green Eileen,” in 2009, which didn’t just take your old clothes and send them to a landfill (a rampant “eco-friendly” initiative that is anything but). It took them back and resold them at a discount, cleaned or repaired. Recycling programs like it are starting to crop up at the world’s largest retailers like H&M, but Eileen Fisher’s, now called Renew, isn’t just a side hustle, or an appeasement to tree-hugging types. In 2018, $3 million of Eileen’s $500 million in revenue came from Renew—and she wants it to become way more. Last year, the brand collaborated with downtown cool-kid brand Public School on a line of upcycled garments, including a felted cap.

Among the trees, I arrived at the Tiny Factory, the former warehouse out of which the Renew program is based, in the car Eileen had sent for me. The brick building is on a commercial street near the pristine houses and front yards of Irvington (the white picket fences here are literal); a few miles downtown and on the river is the Lab Store, where EF customers can buy items from regular collections as well as Renew pieces. Just minutes up the water from there is Eileen’s house and home office, like a real-life Nancy Meyers film set that I happened to know is modeled off of a traditional farmhouse, which I was, lamentably, not invited to see.

I was there to tour the Tiny Factory, and to meet the Eileen—and I was ludicrously stressed, having left my favorite pair of elastic waist Eileen pants at my boyfriend’s apartment, as if she would be able to tell. That’s the thing about Eileen Fisher—you really only need one of each of the things you like from her. “We get back garments that are 30 years old,” I was told by Carolina Bedoya, the chic, bespectacled employee who is currently the company’s resale recycling manager, who took me around. The space was clean and brightly lit, though so full of material that we seemed to be actually inside one of those bags you drop off at Goodwill every six months.

Boxes of returned items come in from Eileen Fisher stores, around 2,000 pieces a week (a little less than in Seattle, the other Renew base); the boxes are then opened and sorted. A woman and man were quietly handling items on tables in the factory as we walked by—they supposedly know the material so well that they can tell linen, cotton, and wool blends simply by touch. Sorting happens by level of damage, then by fabrication, color, and item type, depending on the needs of Carmen Gama, a Mexican designer based in New York who heads the Renew clothing line, and who was one of three winners of the CFDA’s inaugural Eileen Fisher Social Innovator fellowship in 2016. Bedoya explained that Eileen Fisher clothes are more suited to recycling than others because they have long been ethically sourced, organic, and free of the harmful dyes that would make it difficult to clean them en masse, and reconstitute them.

During the 10 years it’s been in operation, the take-back system has become a complicated, high-tech enterprise. Garments are either cleaned and resold as is, sold with a flaw, overdyed by an artist in Seattle to hide discoloration, or stripped and made into something else entirely. Huge amounts of data are collected and analyzed. For example, it takes 2.5 pairs of linen pants to make a box top. “We’re always keeping track of information that could be looped back into the main line to make better decisions at the design point,” Bedoya said. “How is the fabric after years of use? What can we do at the design stage to extend the life cycle, to extend the quality of the product so that people will hold onto them longer?”

But making clothing is only one part of the Renew program nowadays. Everything else Eileen Fisher is doing with old clothes, which happens in another room in the Tiny Factory, exists at the new frontier of recycling. Bedoya passed me off to Sigi Ahl, a tall, willowy German woman in an impeccable white shirt who was Eileen Fisher’s first employee. The two met in Soho in the ’90s when Eileen was just starting out. Ahl is an artist and children’s book author who helped develop DesignWork, part of the company’s attempt to be 100 percent sustainable by 2020 that was announced four years ago. She showed me the giant felting machine that enables her to turn Eileen Fisher clothes into bucket hats, bags, acoustic panels, wall fixtures, and pieces of art.

The machine is sort of like a giant toaster; fabric is piled in layers and fed onto a slowly moving belt, once it is free of zippers, buttons, and the like. Then, inside, 1,000 needles pump quickly in and out of the fabric so ruthlessly that it all becomes one. The result is gorgeous, and industrial: The felt is thick, with a dot-like pattern, the color of the new fabric saturated yet blended. You can even see, in some cases, the light outline of a shirt or pair of pants, an imprint of what used to be.

The machine enables Renew staff to use every bit of fabric, down to scraps, to make something that would otherwise likely be created from virgin textile stock. Eliminating any and all waste textiles from the loop, pre- and postconsumer—that’s what will make Eileen Fisher truly circular, and what fashion at large needs to achieve to stop producing so much waste, and to stop wasting energy. Of course, the process is in its earliest stages. The Tiny Factory has just one large felting machine, which was custom-made in China in collaboration with an engineer.

As the machine was being noisily demonstrated, Eileen appeared. Very small, wearing the coziest black cashmere sweater I have ever seen, cotton pants, and felted shoes (non-Eileen), and her skin makeup-free and luminous, she shook my hand with hers. “Cool,” she said, when she saw the machine doing its thing. As Ahl explained how the felted pieces could be made into textiles for homes and stores, restaurants, and other commercial spaces, Eileen eagerly nodded, sometimes chiming in. “We sold almost every piece there in Milan,” Ahl said about their recent exhibition installment of Waste No More, the name for the art and design initiative of Renew. “It was supposed to go to the Netherlands, and we had nothing to send them.” Impressed, Eileen said, “I didn’t know you were making that decision. People probably won’t take notice of the whole system unless it’s selling.”

We went to another room where more of the felting products were on display, stunning against the brick walls of the factory. As we looked around, Eileen enthused about nearly everything: “Isn’t that beautiful? Isn’t that incredible?” In a smaller room off that one, all the felted wall hangings were in gentle shades of white, as were the pillows on the white armchairs arranged in a circle around a light wooden coffee table. It had the aura of a spa waiting room, or an expensive therapist’s office. One of Eileen’s publicists offered me a glass of water before the two of us sat down to talk. “Eileen, do you have your water?” the publicist asked. We all had our water.

I wanted to know about Eileen’s 20s. “In the nicest way possible, it’s very hard to imagine you being younger than 30,” I told her. She laughed. But she was, in fact, once in her 20s, having just moved to the city from Illinois to become an interior designer. “What was I wearing?” she said. “Well, first of all, I didn’t have a budget. I was a struggling designer. So I just roamed around looking for simple things.” When did she start dressing like Eileen Fisher? She told me that was a funny question, one of a litany of affirmations I received during our conversation. She only started making clothes when she traveled to Japan with a Japanese boyfriend, with whom she was working and living, and was inspired by the simple, elegant draping of kimonos. “I saw a picture of him the other day, digging out old pictures. He was cute," she said. Eileen has a calming, quiet voice that belies a kind of manic curiosity; she talks with her hands, often clasping them together excitedly when describing about something she’s into.

The Japanese boyfriend didn’t last, but Eileen Fisher was born out of the four pieces she designed and sold at her first New York boutique show. She never wanted to be a boss. “I wanted to be in business doing what I loved,” she recalled. “I wanted to be able to make a living. I saw a lot of people living in Soho, who were artists and they had day jobs. I wanted to be one. I wanted to work and live in what I wanted to do.” She lived in Soho and Tribeca, eventually marrying David Zwiebel, who also worked in retail and joined the company. They divorced in the late ’90s, but share two children, Zack and Sasha, now adults.

The contradiction between Eileen’s undeniable financial success and her relaxed attitude toward profit is fascinating. Her leadership style is reluctant. She only recently agreed to call herself a CEO, and the highest ranks of the company form a “leadership circle.” The women’s collective vibe of EF’s management verges on corniness, but is now at the vanguard of workplace trends. Movements like the Fight for 15 and Times Up have shone a light on the pitfalls of lean-in-style, ruthless corporate leadership, even if it’s by a woman. Would she ever call herself a boss bitch? “No, no, no,” Eileen said, horrified. “I worked at Burger King and some other restaurants when I was young, and I didn’t like that power-over feeling. I liked working together. I’m from a big family, seven kids, six girls. So we did everything kind of fluidly together. And I guess I wanted to re-create the sisterhood somehow, or something like that.”

The sisterhood translates, financially, to profit sharing and employee part-ownership, aspects of the company that, I told her, are nearly socialist—another millennial appeal. She seemed intrigued. “There’s something interesting there.” Fisher is not a socialist, but she wants benevolent things out of capitalism, if that’s possible. Says Fisher: “I think business in general is a huge opportunity to change business, because business was set up by men. And, nothing wrong with that, but—well, maybe something wrong—but we have a lot of issues in that the top 1 percent have way too much money and it’s not spread across. I think, through business, we have a huge opportunity to share profits and not just give the money to the people at the top.”

Eileen resists cashing in on the sudden currency of “women-owned companies” in refreshing ways. She doesn’t share much on social media, despite engaging in all the most Instagram-friendly of self-care practices: kundalini yoga, meditation, breath work. She has been open about her belief in the powers of therapy. “I'm always trying to kind of get rid of stuff from the past, or all my lack of competence, or my negativity or whatever is going on for me. And so I'm constantly in a process of evolution, of learning more about myself and trying to be better, do better,” she said. Eileen Fisher’s corporate office has hosted on-site astrologers. Her at-home chef Keiko makes her sushi many nights a week (“Sometimes she makes Indian”), and other times, Fisher’s boyfriend makes dinner. “He’s a simple cook,” she offered (and nothing more). She had just had a myofascial treatment, which she helped me understand by explaining, “Your issues are in your tissues.” And she is “interested in energy"—Eileen Fisher could be the next Goop if she wanted, I told her, it would only take a podcast or a skin-care line. “Um, I don’t know if I’m lazy or what,” she said, pondering. “I think, ‘Oh, just more work.’”

So, if not a lifestyle brand, what will bring the youth to the church of Eileen? “I’ve been struggling thinking about this,” she said. I told her I like Eileen Fisher because the simplicity of the clothes mean I don’t have to worry about them, even while I love them. It feels astonishingly good as a young person, especially a woman, not to feel like your only value is as a consumer, at the whim of constantly changing trends, attuned to every new “drop” and “edit.” I like shopping where my mom shops. “That’s good,” she mused. “If the young customers could see the line the way customers saw it when we first opened our stores . . . then they would understand it more. Over the years, we evolved, and added a lot of different things. So we’re in this kind of stripping down, simplifying, come-back-to-our-core timelessness. And we can appeal to the next generation around the essence of who we are, and around our sustainability work.”

The idea of a uniform is attractive—the core of Eileen Fisher’s basics is a line called The System—because it is freeing, even if the pieces you’re buying are more expensive than so-called fast fashion. Because, ideally, you’re buying less of them. You can see this ethos emulated now in cheaper, digital-born brands like Everlane, and Cuyana, which also foreground transparency. “You want it to be fun and cool, but simple, so that it’s not so much about the clothes, right? It becomes about who you are.”

Fisher believes young people will demand more and more that what they buy is sustainably made. For one thing, most of us can’t actually buy all that much. Eileen Fisher’s discounted recycled lines seem perfectly pitched, if she can get us in the door. “The early days for me, I had kids and it was about simplifying, simplifying,” Fisher remembered. “I was spending too much time shopping, too much time putting myself together. I wanted to make it simple for me and for others. . . . I think that young people want it simple again.” And she thinks optimistically that soon companies will be unable to get away with unethical practices, environmental and humanitarian, as sourcing data becomes more consumer-facing: “It’s going to be transparent. You’re going to be able to go up to a garment and know exactly where it was made, where the fabric came from, how sustainable that factory is, or how much water they use. You’re going to be able to find that all out, hopefully within five years. And the companies that aren’t doing the good work are going to be caught out.”

I had been nervous to pose one question to her: Is it enough? How can Eileen Fisher help fix an entire planet of wasteful and exploited people? When so much of how we live our lives is centered around buying things, how do we make a sea change that fundamentally alters how we consider stuff ? This is where Eileen’s small but mighty vision finds its limits. “We’re really struggling with how to actually make it work,” she said, not somber, but more serious. She has read the latest IPCC report from the U.N.; she accepts that we have 12 years (now closer to 10) to mitigate the worst, most apocalyptic effects of a warming planet. The confusion in the company’s various environmental initiatives’s names—DesignWork, or Renew, or Remade, or Waste No More—is an indicator that it does not have yet have the textile crisis solved. Getting fully circular is one thing; the company has amended its 2020 Vision, a set of 20 goals across eight social and environmental priority areas, to allow that some will be achieved in 2025, or even 2030. Scaling circular practices would be superhuman.

Eileen might not be radical: Her sushi chef, for one thing, is not the greenest amenity, nor is the fact that she drives the few minutes between Irvington company sites. (“I’m always late,” she says.) She struggles with deciding when to voice her political convictions, despite her company’s commitments to environmental ethics and to women-focused electoral efforts. “This is a painful—these are conversations that are going on,” she said. “You know, how to step out in terms of my own sense of my own politics . . . there’s a part of me that really wants to stand up and say, “We support the Green New Deal. We don’t even know what it is, but we support it!” But we try to coax the big brands to come along to take baby steps. We don’t want people to feel put off by us.”

“How do we be more unifying and inclusive and we take a strong stand?” she asked herself before giving a long sigh. She said her friend Rose Macario, the CEO of Patagonia, a fellow B-Corp company, is always trying to get her to speak out more. “It’s important we are not polarizing as much as possible. . . . Although, Green New Deal, come on.” I got the sense that she will welcome the revolution, at least, when it comes. She has an admirable amount of faith in young people, and will happily dress us for the barricades. Her daughter, now in grad school at Yale for architecture, she told me, always recycled an item out of her tiny Brooklyn closet for every Eileen Fisher product she took home.

I hated that I had to go back to New York. There is something utopian about the remade items in the Eileen Fisher felting room—they’re hopeful, even joyful, despite being, essentially, clothes for the apocalypse. Things made out of what we already have when there’s nothing left to use from scratch. I was sent back to the city with a gray felted glasses case. Eileen Fisher is for your mom, for you, and for whatever the hell is coming next. “We’re not so newsworthy in our simple clothes,” Eileen said. “But we are, I think, in our concept.”

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York Avenue

Before and after: a small space makeover with eileen fisher home.

This is a sponsored post in collaboration with Eileen Fisher for Garnet Hill. All opinions are my own! 

I’m SO excited for today’s post. My apartment has been covered thoroughly on this blog (especially as of late, you guys are probably like, shut up about it already!). and there isn’t too much left that I can do with it, so it’s about time I moved on to another space – my sister’s apartment! Today I’m super excited to share a little “bedroom” refresh that I did in her New York City studio apartment…and just wait ’til you see the transformation (no offense, Ali :). Since I couldn’t change any of the big things, I focused on decluttering, restyling, and tightening up the color scheme. I styled the bed using a set of brand-new Lustrous Cotton Sateen sheets from the Eileen Fisher Home Collection at Garnet Hill. You guys remember how obsessed I am with Eileen Fisher’s linen sheets , so it was super fun to style a set from a different collection. Read on to see the before, and learn more details on the makeover!

Swear I did not stage this…this is exactly what it looked like when I walked in. Perfect for a makeover!

My sister lives a super busy, on-the-go lifestyle, so when she comes home after a full day of work, business school classes, and working out, she needs a place where she can truly relax. The  Lustrous Cotton Sateen Bedding from Eileen Fisher provides that perfectly. They’re soft, smooth, and silky to the touch, with a subtle sheen that provides just a slight lux vibe vibe while still having that earthy, natural quality that one associates with Eileen Fisher products.

Great sheets are a perfect way to bring a simple luxury into your everyday – what could feel more indulgent than slipping into crisp, clean sheets at the end of a hectic day? Let’s be honest, we don’t all pamper ourselves on a daily basis (who has the time, money, or even the inclination to do so), so getting a luxurious version of something you need to use anyway is a great way to treat yourself without having to make any special effort.

I love that the August page of this Inslee calendar matches the blue color scheme perfectly!

This year marks the ten-year anniversary of Eileen Fisher Home for Garnet Hill , and I’m really excited to celebrate with them! The collection is all about natural fibers like linen and cotton that have a wonderful feel to them, with a focus on soft colors and textures that create an elegant, pure look. No frills or unnecessary details, just the simple touches that elevate an item above the everyday. I think it’s so important for your home to be a sanctuary – a place you can come home to at the end of the day and feel comfortable, relaxed, and well taken care of. That’s part of why I’m such a fan of the whole Eileen Fisher Home aesthetic. I use my linen sheet set all the time – someone in my laundry room even stopped me the other day to inquire about and enthuse over them!

Lending The Singles Game to my sister since she plays tennis! And obviously also because it matches her lamps :). B Floral NYC provided the flowers for this makeover and they did such an amazing job.

I’ve never worn any Eileen Fisher clothing before, but I definitely see the connection between her clothing line and the home line (which is sold exclusively at Garnet Hill). They’re both about quality pieces that you’ll use for years and years, with a focus on elegant simplicity – an idea I think we all want to incorporate into both our homes and our closets!

I had so much fun restyling this room and hope to work on a few more changes in the future – a new upholstered headboard, definitely a new bedskirt, and some great art to go above the bed. A few sources:

Eileen Fisher Lustrous Cotton Sateen Cases, Fitted Sheet, and Flat Sheet  in Pure White (all c/o) // Painting on the windowsill is by Jen Ramos // Quilt is West Elm // Bench TJ Maxx // Lamps // Pillow

We also incorporated this Eileen Fisher Organic Cotton Throw Blanket into the room, and I love how it looks layered over the aqua quilt. It’s the perfect weight for these end of summer nights when it starts to cool down just a touch and you want a light, soft layer.

Huge thanks to Eileen Fisher and Garnet Hill for partnering on this post!

photos by me

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You did an amazing job on Ali’s bedroom makeover! I love how the white throw pairs with the aqua one – beautiful detailing! 🙂

Thank you Will! I love white and aqua too, so I was glad she already had that aqua quilt!

Ali’s studio is beautiful! You have such a discerning eye! Me next???

Hehe, sounds good! Thanks Aunt Eva!

This looks so beautiful! You always take the most gorgeous photos! xoxo

Thank you Elana! xoxo

The makeover looks so nice. It’s so simple and classic, I love it.

Thank you Krystal! Can’t wait to add a few more details 🙂

Absolutely gorgeous!! We’re so happy that you loved the flowers!! xo

They’re so gorgeous. Cannot thank you guys enough!

Love the color scheme. It already looks so refreshed, calming, and decluttered. Can’t wait to see what you’ll add after some time. 🙂

I’m so excited to keep doing more in her apartment, basically as much as she’ll let me do :). Hoping to do her gallery wall soon!

I wish you could come in every day and make it look like this !! LOVE these sheets so much – they are my new favorite sheets hands down.

LOVE this post, so fun and so so pretty. Its amazing how some strategic moves can transform a space with little to no money spent. More before and afters please

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Eileen Fisher Meditates on What’s Next

By Carrie Battan

“It’s funny. There’s all this change. All this cultural stuff,” Eileen Fisher says, “and I’m always interested in what’s timeless, or what doesn’t change.” She is speaking to me from her patio in Amagansett over Zoom, a week after she’s announced the hiring of a new C.E.O. for her namesake clothing business. I keep trying, and failing, to take her temperature on various cultural shifts—to ferret out any exceptions to the overwhelmingly neutral and timeworn principles that inform her world view. Fisher founded the brand, in 1984, and her clothes have been hailed (or dismissed) as: simple, tasteful, dignified, anonymous, elegant, comfortable, matronly, refined, smart. But the main tenet of Fisher’s design philosophy is timelessness—a stubborn and refreshing aversion to trends. The most whimsical thing Fisher owns is a pair of yellow shoes, she tells me. Her biggest sartorial experiment of late has been a little bucket hat that she wears to the beach sometimes.

And yet, as a business, the story of Eileen Fisher is one of predicting the times rather than transcending them. In a somewhat atypical move, Fisher decided to hire a head of social consciousness twenty-nine years ago, decades before corporate activism became fashionable. Always drawn to the comfort of natural fibres, she was concerned with the environmental impact of her clothing before sustainability became an inescapable buzzword. She launched a clothing trade-in program before resale and “upcycling” were the norms. She has always operated under a more collaborative, nonhierarchical corporate structure that certain Silicon Valley types now claim to aspire to. Aesthetically, Fisher has been prescient, too. Inspired by the architecture and simplicity of the kimono, she set out in the early eighties to make defiantly simple wardrobe basics that would stand the test of time. Today, “elevated basics” dominate fashion from top to bottom, from startup darlings such as Everlane to luxury brands such as the Row.

But, while the clothes that Fisher produces are simple, designing them is not. At seventy-two, Fisher is taking baby steps toward retirement, refocussing her energies on design work and stepping away from the more commercial side of the business. Recently, she announced she would hire a C.E.O. for the first time in the company’s history, appointing the Patagonia executive Lisa Williams. Fisher will spend some of her time insuring the legacy of the brand by teaching young designers at the company to carry on her custom of “undesigning,” as she calls it, or finding the simplest version of a garment that lies underneath all the fuss.

I have to imagine that, when the news broke that you were stepping down from your role and bringing in a new C.E.O., people thought you were announcing your retirement .

I’m not really going anywhere, but just doing more of what I love. It’s a little confusing . . . artists, designers . . . it’s not that you don’t get to retire, but you don’t exactly retire in the same way that others do. It’s in your soul. It’s a part of you.

How will your work change moving forward?

If I think about where I’m headed, I’m passionate about design, but I’m very passionate about the environment. I don’t know exactly what my role is going to be, or what my voice is going to stand for beyond the design and the idea of sustainability in the apparel industry. I don’t know, maybe I’ll just want to go to the beach.

Eileen Fisher is known for its nonhierarchical, unconventional corporate structure. What prompted the decision to bring in a C.E.O.?

I think COVID really shifted something for me in terms of really reorganizing the company. It definitely prompted questions of, Who am I? What am I trying to do? What matters? I have so much pleasure in the days I go in and spend with the designers. And then, other days, I’m doing the business parts—some of it I like, some of it was becoming too much. At my age, it feels like it would be nice to just do the parts I love.

The woman you ended up hiring is Lisa Williams of Patagonia, a company that shares a lot of DNA with Eileen Fisher. What was the hiring process like?

It was about making sure that we got someone who shared the values that we’ve worked hard on. We spent about a year. We hired a search group. It was a really deep process, and a lot of candidates. It’s a unique, collaborative kind of company. It’s not easy to just hire a C.E.O. from out there in the real world—the regular world, the corporate world. When I met Lisa, I felt that we were on the same page in the conversations we were having. Concern around overproduction and consumption. What does it mean, and how do you build a company that works and that is sustainable into the future? I also felt like she was a listener. That’s something I value so much.

Eileen Fisher is so often talked about as a “feminine” kind of company. You’ve always sold clothes to women. Was it important to hire a woman?

We didn’t rule out men, but it was important to me. I was hopeful that it would be a woman.

You said that sustainability is more and more important to you. Has that been a gradual evolution for you, or has there been one specific thing that shocked you into action?

Evolution. You sort of do something and it points you to more. I used to say, in the early days, “Just take baby steps and start.” And it just seems to have momentum. You start to see more. And that’s how I would encourage other companies. Just start, take some steps. I visited factories in China, and the water crisis really hit me. I came to understand that issue, and it was a big turning point. I’m trying to remember the first time I heard the phrase “regenerative agriculture.” It wasn’t all that long ago. To understand that it was possible to regenerate land and draw down carbon—that really moved me.

Obviously, words such as “sustainability” and even terms such as “upcycling” are losing their meaning because everyone uses them now. Is it especially challenging for you to communicate to your customers that your clothing actually is environmentally sustainable?

It’s a huge challenge to communicate, and it’s a challenge to stay true to what we say, and to really walk our talk. It’s not simple to say, “We took all these plastic bottles and made shoes!” There’s a lot to try to communicate to the customer: O.K., cellulose is good and regenerative. Rayon is good, but rayon is also untraceable.

There’s too much stuff in the world, so how do we make sense of creating a good and meaningful business, and, at the same time, reckon with overproduction? How do we make more of the good stuff and less of the wrong stuff? That’s one of the things I think a lot about. There’s just too much of the wrong stuff.

What have you learned from your own in-house resale program, Renew?

When we take clothes back, it’s very interesting to see how timeless our clothes really are and how they really do last, because of good-quality materials and simple shapes and how people are willing to buy them the second go-round. But we also learn things about the design, and what is actually recyclable and what breaks down, where the problems are. Out of that came the Third Life program, our felting initiative, and the upcycling. One thing moves you to the next.

Who’s buying Eileen Fisher clothing these days?

I don’t think it’s changing too much. The middle-aged or older customer is our core customer. We are trying to figure out how to speak better to the next-gen customer. With COVID , we had started a big marketing project, but we had to put a lot of expenses on hold. We were tending to our core customers. But now I think it’s time to ask again, How do we spread our wings a little and reach out once more, in a broader way?

You’ve said you struggled during the pandemic, but did you find in any way that customers were drawn to Eileen Fisher’s clothes because of how simple and comfortable they are?

Yeah, it’s sort of who we are. We were struggling to sell silks. Suiting, they didn’t want it. Now they want it again, so it’s all good. We sold leggings. We sold cotton and French terry. Our terry is called Hug—it’s something we’ve sold for a long time, but it was on fire during COVID .

Are larger conglomerates constantly trying to buy Eileen Fisher? How do you respond to those kinds of inquiries?

Fifteen or twenty years ago, I got acquisition inquiries all the time. I entertained a few at a couple of moments and wondered, Wow, is it crazy not to sell part of the company? That’s what everyone else does. People were encouraging me to diversify my own assets. Most of my resources were in the company. That was the point when I decided to do the ESOP [Employee Stock Ownership Plan]. We were in a good position and generating nice profits. Instead of going public or selling to another company, the company borrowed money to buy me out of forty per cent of the company, and then gave it to employees. I’m really proud of it, and I also think that it should be part of our new era of capitalism. I think that companies should have to share profits, or share ownership with employees. It should be a law.

It probably also means you have very little turnover.

Over the years, the turnover has been really low. The past few years, it’s been harder. We had to downsize during COVID . That was tough. But we’re back, and there’s a lot of momentum in the company. Morale is good, and a lot of people are staying. There was the great-resignation thing, which hit us a bit. Some young people we were nurturing left. It’s a little sad.

In practically every type of office these days, you hear, “Gen Z, Gen Z, Gen Z . . . ” Is it the same at Eileen Fisher?

It’s funny. There’s all this change. All this cultural stuff. And I’m always interested in what’s timeless, or what doesn’t change. My daughter might not like this, but I see the similarity between my daughter and myself. Whether it’s the clothes we like, or how we think about certain things, I am interested in what’s timeless and universal and what transcends the age. I think that’s what I kind of try to bring to the design work. Is that going to stand the test of time?

[ A noisy plane flies overhead. ]

These private planes, I hope they outlaw them. Bad for the environment.

How does your daughter dress?

She’s a minimalist. Quite simple. She doesn’t like to waste. She wears a lot of Eileen Fisher pieces. She wears other people, but I try not to ask her about them. She always comments that she keeps the Eileen Fisher clothes because they last, they’re comfortable, and she loves the fabrics. She’s an architect. She’s got a nice style.

Do you have anything in your closet that could be considered at all whimsical or strange?

Basically, I’m lazy. I don’t really have things like that. For me, it’s a pair of yellow shoes or a red wrap. It’s a little bit of color, but that’s about it. Pretty much simple, just what I do because I’m more comfortable that way. I’ve been wearing a hat lately. A little bucket hat, at the beach. It’s Eileen Fisher.

You’ve spoken in other interviews about your yoga and meditation practice. What role does it have in your life now?

I started doing yoga in my twenties and let it fall away, then picked it back up about twenty or twenty-five years ago. Basically, I started doing hatha, Kripalu yoga. I had a teacher who studied there and taught me all the postures, and I would go on yoga retreats. Then I got into meditation. I went to the Chopra Center about fifteen years ago. [ Laughs .] That’s when I started meditating every day and really leaned into a regular practice. I’d get up every morning and meditate for a half hour before I would do anything. Then I started realizing I couldn’t just sit for a half hour because I needed more movement. It’s amazing, it changed my life. I can wake up totally stressed, but I know that, once I start doing the yoga, I’m good. Even this morning, I was so stressed about doing this interview. I thought to myself, As soon as I do yoga, I’ll feel better. And I did.

I love energy in general. Especially at my age, to feel like, Wow, I can actually build up my energy. I love that! Energy is something I’m always kind of tuned into. That’s kind of been a certain part of my success. Whether it’s the energy between people, where people light up around a fabric or a garment, or a certain kind of energy . . . I read that, and I work from that, and I love that.

Were you involved in any of the holistic, countercultural stuff back in the nineteen-seventies? The health-food movement? Hippie stuff?

Not exactly. I was a hippie, sort of. But I wasn’t embedded in it, really. I got involved in a spiritual group. Are you familiar with Gurdjieff? He’s more like a spiritual philosopher, sort of. It’s really about knowing yourself and tuning into what you’re doing, and why you’re doing it, and how you’re doing it. Being self-aware about your emotions and things like that. It was interesting. But it was kind of cultish. That was part of the problem.

It was later that I got involved in going to Kripalu, and Omega, and the Chopra Center. I went to India. In the seventies, I think I was a little lost. I was in my twenties and I was into design. I had a Japanese boyfriend, and I did go to Japan. But I wasn’t in the spiritual or health-food world much at that point. It intrigued me, but I just didn’t happen into it, somehow, until later.

You were living in downtown New York in an era that people tend to romanticize a lot—the late seventies and eighties. Did you ever brush against any of the kind of mythological cultural scenes?

It’s funny—I was never a part of the scene, so to speak. But I had a lot of artist friends. I loved being around artists. And, when I started my business, it was because I was in Tribeca and around artists, and artist friends. I got a lot of encouragement for my idea. It was artists and creative people who I was drawn to. But they weren’t the famous people, like Andy Warhol. [ Laughs .]

You’ve spoken a lot about being inspired by Japan. Are you still drawing fresh inspiration from Japan, or does it all trace back to your original discovery, and your initial line of thinking about the kimono?

I did make a trip to Japan because my kids wanted to go, and that was fun. But really not so much for inspiration. Now, it’s more trying to finish what I set out to do so many years ago.

What’s your relationship to young designers like? Emily Bode told the Times she looked to you for guidance in her work.

I have a bunch of young designers in the company. Other outside designers, it’s kind of tangential. I’ve met some of them, like Stella McCartney and Rachel Comey. It’s funny—even in the company, it’s always such a dialogue around design. Why this? Would it be better like that? Is this really timeless? So I don’t think of myself as mentoring, but I do think that I have something to share. So sometimes I think about a design school. It’s what I’m pondering as I’m separating more from the work. I’m talking about creating the blueprint for what I’m trying to do. What’s the design philosophy? What about it needs to be set down, so that it doesn’t go off [course]?

I think about Kate Spade sometimes. How hard that must have been for her, to sell the company and to see it go somewhere so far from where she originally conceptualized it. And yet it had her name on it. There’s something very personal about those kinds of things. I knew her, but I don’t know her whole story. If I think about it, it makes me sad. So then I think, What does that mean for me? How do I want to preserve [Eileen Fisher] as I leave?

There is a whole other layer to consider with legacy when the brand is your actual name.

Yeah, it’s a little bit weird. I tried hard to have it not be my name, but it got away from me. Because it was early days, and I couldn’t come up with another name, and it was too late, and I just had to do it. So then it started to build traction, and it had my name on it. And so that’s what it was.

Now the name is so iconic that it’s bigger than you.

I hope it is bigger than me. The ideas should be able to live on. Sometimes I compare it to the idea of Bauhaus designs. Of course, that sounds grand, and I don’t mean that. But it’s just that there are principles of design. It’s not rocket science, it’s not only mine. It’s more like undesigning and discovering what the simplest thing is underneath, somehow. And teaching people how to do that.

I think of you and Issey Miyake as being in a similar vein in some ways. Did you ever have a relationship to his clothes, or to him personally?

It’s weird, because I’ve never owned a piece of Issey Miyake, even though I love the way he works and thinks. Somebody gave me his books a long time ago, in the early days. Probably before I even started designing clothes. He totally inspired me. He is an incredible artist. He thinks about clothes the way I think about clothes—and that sounds weird, because his clothes are so much more artistic. Mine are the ultimate simplest version of the kinds of things he does. He talks about straight lines and architectural shapes, and I love that kind of thing. But mine are just utterly daily life, wearable simplest things. His are much more artful. I never got to meet him.

You were profiled , in 2013, in this magazine, by Janet Malcolm. I never had the opportunity to meet her, but I have to ask what it was like to be profiled by her.

It was easy to talk to her and all that. But it turned out that . . . the article was hard for me. I think she seemed to like it. She titled her book the name of it. It was called “ Nobody’s Looking at You .” I must have told her the story about how my mother used to say that to me all the time.

Something was tough about it. I saw myself as not communicating clearly. I saw the kind of circular way I told my story in the several days that I met with her. I felt sad, like I hadn’t gotten across who I was somehow. Or maybe she didn’t get me, or maybe I wasn’t being clear. That’s what I came to.

I’m looking at my notes now, and I’m thinking, Oh, gosh, did I just ramble around? I’m trying to be clear. I’ve worked so hard to find my voice. It’s painful. To be clear about who I am and what I’m trying to do and what I think matters. I guess I feel like I have a little opportunity to kind of heal something for myself through this interview. That’s a lot of pressure for you. Make me sound smart and cool. ♦

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Eileen Fisher: Eileen Fisher

In 1983, Eileen Fisher signed up for a fashion trade show with no experience, no garments, no patterns or sketches – nothing but a few ideas for a women's clothing line focused on simplicity. Within three weeks, she came up with 12 pieces, a logo, and a name: Eileen Fisher. Today, the Eileen Fisher brand is still known for its elegant and minimalist designs, but it has grown to more than 60 locations and makes over $300 million in annual revenue. PLUS for our postscript "How You Built That," how Louisiana butcher Charlie Munford is helping popularize wild boar meat.

Eileen Fisher, founder of Eileen Fisher. Marcus Marritt for NPR hide caption

Eileen Fisher, founder of Eileen Fisher.

BROOKLYN, N.Y.--( BUSINESS WIRE )--Today, global design company West Elm and EILEEN FISHER debut a sustainably made collection of home decor and furniture designed with upcycled EILEEN FISHER materials, giving garments a second life beyond the closet. Both retailers shared a vision to develop responsible designs using conscientious manufacturing centered around a zero-waste system to create home products with less environmental impact. The limited-edition collection interprets EILEEN FISHER’s Renew program to a selection of pillows and casual seating available today at WestElm.com/EileenFisher and EileenFisher.com . The collaboration marks the first time EILEEN FISHER brings its industry-changing denim felting method to an exclusive collection with a major home retailer.

“ Our team was delighted to partner with West Elm because of our shared passion for creating responsibly-designed products. With these beautiful designs, we are extending each garment’s life cycle and drastically reducing the waste that we put out into the world. As other brands join our mission, we will increase the potential to create positive change in the way we manufacture — by being kinder to the planet,” said Eileen Fisher, founder and co-CEO.

The West Elm + EILEEN FISHER collection is uniquely crafted using a process that begins by deconstructing previously owned denim garments donated by customers as part of EILEEN FISHER’s Renew program. The upcycled fabric is meticulously washed, repaired and hand-layered into intricate and thoughtfully designed patterns, making each piece in the collection one-of-a-kind.

“ Eileen Fisher leads the apparel industry in sustainable innovation and has developed a transformative technology that allows us to introduce circular design to a collection of textiles for the home,” said Alex Bellos, president of West Elm. “ Together, we are bridging our shared commitments to responsible retail and great design to offer quality, artful pieces."

Beginning August 25, customers can shop the limited-edition collection of eight pieces on WestElm.com/EileenFisher and EileenFisher.com/Circular-by-Design , including:

• Eileen Fisher Pillow Cover in White & Indigo , 12” x 21” ($159)
• Eileen Fisher Pillow Cover in Red , 12” x 21” ($159)
• Eileen Fisher Pillow Cover in Dark Indigo , 20” x 20” ($169)
• Eileen Fisher Lounge Chair ($1,999)

For an exclusive interview with Eileen Fisher and a behind the scenes video tour of EILEEN FISHER’s Tiny Factory to see how each piece is made, visit WestElm.com/EileenFisher . To learn more about sustainability and circular design in the apparel industry or to participate in EILEEN FISHER’s Renew program, visit EileenFisherRenew.com .

About West Elm

Born in Brooklyn in 2002, West Elm is a global design company dedicated to transforming people’s lives and spaces through creativity, style and purpose. We create original, modern and affordable home decor, and curate a global selection of local, ethically sourced and Fair Trade Certified™ products available online and in 100+ stores worldwide. We are a part of Williams-Sonoma, Inc. (NYSE:WSM) and participate in The Key Rewards, a free-to-join loyalty program that offers members exclusive benefits across the fleet of best-in-class brands.

About EILEEN FISHER

EILEEN FISHER has been creating simple, timeless clothes for over 30 years. The collection consists of pure shapes in beautiful materials, designed to work together effortlessly. As a socially conscious company, EILEEN FISHER is a pioneer in sustainable fashion and working to empower women and girls. Our clothes are sold at over 60 EILEEN FISHER retail stores, and 1,000 department and specialty stores internationally, as well as 2 RENEW stores, which feature gently worn and remade designs from our take-back program. EILEEN FISHER is the one of the largest women’s fashion companies to be a certified B Corporation, which means we voluntarily meet high criteria for social and environmental performance, accountability and transparency.

Hannah Wickberg [email protected]

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The Queen of Slow Fashion on the Art of a Slow Exit

Eileen Fisher went from industry outlier to godmother of a movement. Now, she is getting ready to pass the torch, starting with a new chief executive at her company.

“Being a chief executive has never really been part of my identity,” Eileen Fisher said. Credit... Vincent Tullo for The New York Times

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By Elizabeth Paton

• Published Aug. 13, 2022 Updated June 22, 2023

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“Being a boss is not my strength,” Eileen Fisher said, shifting awkwardly in a seat from a sleek meeting room inside the headquarters of a company she started herself almost 40 years ago.

That may seem surprising, given the degree to which Ms. Fisher, 72, has proved herself as a leader with staying power in an often brutal industry defined by relentless change.

After all, she is a designer who built a fashion empire offering modern women comfortable yet empowering designs in natural fabrics that simplified busy lives. In an industry in which, by some measures, a truckload of clothes is burned or buried in a landfill every second, she was an early pioneer of environmentalism as a core brand value. She’s a founder of a company who, in 2006, decided that rather than taking her business public, or getting acquired, she would transfer ownership to her employees instead.

But front and center has never been Ms. Fisher’s style. For most of its history, Eileen Fisher (the brand) has rarely had a chief executive , opting instead for “collaborative teams” of assorted shapes and sizes. It was only in the last 18 months or so that the company has ever even had a single C.E.O., in the form of Eileen Fisher (the woman). She stepped up to steady the ship after the brand, as she put it, “kind of lost its way.”

Now, the queen of slow fashion is ready to give up that role (albeit slowly), part of what she described as a “responsible transition” away from the helm. This latest step in stepping back would, she explained, allow her to concentrate on formalizing her design philosophy so the brand might eventually exist without her.

“Being a chief executive has never really been part of my identity — it’s never been something I’m comfortable with,” Ms. Fisher said. “I like to think of myself as leading through the idea.” Her signature bob gleamed like a pearly helmet, bouncing against her black spectacles as she talked. She was cocooned in one of the elegant, roomy knits on which she has made a name and fortune for herself, in the process creating what The New Yorker called a “cult of the interestingly plain.”

“I do have a vision for how this company should move forward, but I know I am not the person to execute it,” she added. “Not on my own, anyway.”

Just Do Less

After searching for more than a year, Ms. Fisher said she was delighted to have found a successor. As of early September, Eileen Fisher’s new chief executive will be Lisa Williams, the current chief product officer at Patagonia .

On paper, at least, Ms. Williams appears to be a good fit. Patagonia, which donates 1 percent of its sales to environmental groups, is another atypical retailer, also with a visionary founder and similar ideals to Eileen Fisher on how products should be made, worn and — ideally — made and worn again.

A decade ahead of many of her competitors, Ms. Fisher started her Renew line in 2009, which sells secondhand garments, while the Waste No More initiative takes damaged garments and makes them into fabric. Patagonia ​​was also early to embrace organic materials, has a long history of political activism and once ran an ad telling people not to buy its products.

“The fashion industry is in a terrible conundrum, with too much stuff and rampant overproduction and overconsumption,” Ms. Fisher said. “How do we begin to make sense of it? How do we grow our brand without growing our carbon footprint? I just found Lisa and I to be so in sync when it came to scratching the surface of these complex conversations.”

Ms. Fisher noted that the two women were also fully aligned on not being driven purely by financial results. (Just the same, Eileen Fisher has been profitable for all but two years since its inception, the company said, with sales of $241 million last year.) And few are as knowledgeable or connected as Ms. Williams when it comes to the complex workings of the fashion supply chain, a global and murky ecosystem in which many brands have little or no knowledge of who makes their clothes.

“We both agree one of the most important ways we can be sustainable is to reduce,” Ms. Fisher said. “Just do less: Buy less, consume less, produce less. That’s a really hard line to walk when you’re trying to run a business, and you’re measuring your success by how much you sell. But I needed someone who was fully on board with that.”

A 20-year Patagonia veteran, Ms. Williams said in a phone interview this week that she felt “familiarity and admiration” with the Eileen Fisher brand and its way of doing business.

“The unconventional leadership structure there doesn’t make me nervous — I’m actually in my comfort zone when things look unorthodox,” said Ms. Williams, who has never held a chief executive role before. “I think the idea of co-creation and collaboration absolutely can work in a company.”

“The last few years have been pretty hard for anyone in retail, let alone those trying to change the fashion paradigm,” Ms. Williams continued. “And I have huge admiration for all Eileen and her team have done amid that chaos to re-anchor the brand back toward its original values.”

Part of getting things back on track involved cutting out some of the bolder colors and prints that had begun creeping into collections, instead re-emphasizing the hallmarks for which Ms. Fisher is known. The latest clothes on her website come in a muted color palette of shades like ecru, cinnabar and rye. The shapes, like kimono jackets and sleeveless tunics and cropped palazzo pants in soft cottons or gauzes and Irish linens, are uncomplicated and designed to flatter. The key now is to find a way to serve those looks to the next generation.

‘I Was Never Really a Conventional Fashion Designer’

As the “coastal grandmother” TikTok trend and the success of high-end luxury labels like Jil Sander and the Row suggest, minimalist capsules — collections of clothing composed of interchangeable items, thus maximizing the number of outfits that can be created — are having a renewed fashion moment. There seems to be a collective craving for simplicity — something Ms. Fisher has been steadily offering up since the mid-1980s and her first designs inspired by kimonos she saw on a trip to Kyoto.

A stereotype persists that the brand caters chiefly to a more middle-aged, upper-middle-class demographic looking for a particular air of untroubled elegance. Ms. Fisher stressed that was not entirely true anymore.

When she started out in 1984, Ms. Fisher was a recent graduate of the University of Illinois. The second of seven children who grew up in the Chicago suburb of Des Plaines, she had originally come to New York to become an interior designer. (She had $350 in her bank account and did not know how to sew.) But she did want to liberate women by giving them a formula.

The simpler something is, her thinking went, the more things it goes with, the longer you wear it, the longer it lasts in your wardrobe. It was an approach that she felt could also resonate with young women today, who are mindful that they can vote with their wallets if they believe in the way their clothes are being made, even if that makes them more expensive.

“It’s hard to convince people to buy less on a promise it will last longer, but I want them to see that they have a choice when they buy into our capsule system,” Ms. Fisher said, noting that she had found crossover between older and younger shoppers on their favorite pieces (boxy tops are a runaway hit, she said). And it’s an approach that is influencing not only young shoppers, but also young designers.

“Eileen was one of the few industry leaders that made me feel like the success of my company was possible,” said Emily Bode , a men’s wear designer, who added that Ms. Fisher had been “incredibly inspirational” to her as she laid the groundwork for her own brand.

“When I was going through growing pains with Bode, I visited with Eileen and her team,” Ms. Bode said. “Her dedication to retail, slow growth, staying privately owned, and of course creating an unconventional but successful business model surrounding reuse and sustainability has undeniably shaped my strategy and achievements for my business.”

Looking back at past interviews, it’s clear that Ms. Fisher has been wrestling with how to detach herself from her brand for some time. She has spoken frequently over the years about how she felt as if she didn’t need to be there anymore; she has talked about the idea that the company had developed beyond her . And yet, here she is, still some way from letting go.

“Those quotes were true in their moments,” she said. “But I think, over time, I came to realize that the idea of simple clothing and design, and of how we spend money here, had not fully landed in the company in the way that I thought it had. I had to get back into the center and reorganize things so that people know exactly how things should work. It’s an important part of my legacy and what I leave behind.”

With the imminent arrival of Ms. Williams, Ms. Fisher faces the prospect of slightly more free time. She doesn’t want to travel, she said, instead preferring to spend more time doing kundalini yoga and meditation, playing mahjong with friends and learning how to cook good Japanese food after the recent retirement of her longtime chef. She also has two adult children, Sasha and Zach, with whom she wants to spend more time.

But it’s clear that Ms. Fisher is not finished with work. For one thing, outside the office, she wants to continue a focus on education through her philanthropic organization, the Eileen Fisher Foundation. She’s also been fantasizing about starting a design school.

And she wants to ensure that her employees — all 774 part-owners of her brand — are ready for what comes next. Remaining a private company and giving her employees a share of the business have both been a big part of her success.

“I hope what we have been building here in Irvington is a relatable concept, that in 30 years’ time, the prototype of what we are building is what other people might also try and build,” Ms. Fisher said, referring to the town on the Hudson River where she lives and works.

“I don’t do trends. I don’t do runway shows. I haven’t been a conventional C.E.O.,” she said with a small grin. “But then again, I guess I was never really a conventional fashion designer either.”

Audio produced by Tally Abecassis .

An earlier version of this article misstated the given name of Eileen Fisher’s daughter. She is Sasha, not Emily.

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Elizabeth Paton is a reporter for the Styles section, covering the fashion and luxury sectors in Europe. Before joining The Times in 2015, she was a reporter at the Financial Times both in London and New York. More about Elizabeth Paton

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Put-in tours

Original tour agency in moscow and st petersburg..

Onboard a Soviet van!

Welcome to Russia!

We are Sergey and Simon, a Russian and a Frenchman, both  passionate about Moscow, Saint-Petersburg and classic cars. Together, we have created Put-in tours. Our goal is to help you experience Russian culture off the beaten path. Join us onboard our classic Soviet van and let’s get rolling!

In Moscow we offer you a city tour to discover most of the city in an original way as well as a night tour to admire the lights. Our pubcrawl is ideal to explore Moscow’s night-life and have fun. If you are craving to discover Russian culture, come impress your senses during our monastery diner or join our 100% Russian Banya Excursion . The latest will also bring you to Sergiyev Posad and it’s famous monastery!

For the most extreme travellers, our shooting tour will deliver your daily dose of adrenaline whereas our tank excursion will let you ride a real tank and shoot a bazooka.

We also offer help to receive your visa , safe and multilingual airport transfers , as well as organisation services for team-building events or bachelor parties .

All our excursions (but the monastery diner) happen onboard our Soviet military vans and can be covered by our  professionnal photographer or videographer.

In Saint Petersburg

We welcome you in Saint Petersburg onboard our Soviet van to discover the imperial city with our city tour and night tour .

Continue your discovery in style! The adrenaline lovers will like our shooting tour  which brings 3 Russian weapons to the tip of your trigger finger.

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At Put-in tours, we put you in our classic Soviet vans to go explore Moscow, Saint Petersburg and Russian culture off the beaten path. Discover our Moscow city guided tour, visit Moscow by night, join our banya & Sergiyev Posad excursion, visit and dine in one of Moscow's oldest monastery or even Luzhniki stadium, before you party on our famous pubcrawl! Original and atypical tours : Shoot AK47 and a bazooka after riding on a tank with our tank & bazooka excursion ! Extreme tours: Fly a fighter jet in Moscow onboard a L-29 or L-39 aircraft!

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Moscow Vibes – Three Day City Escape

Duration 3 days

Price from USD $730 ? Currency Conversion Converted from USD based on the latest exchange rate. Final amount and payment will be in USD. Final conversion rate is determined by your bank.

Trip Style Sightseeing

Time of year All Year

Home / Moscow Tours / Moscow Vibes – Three Day City Escape

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This short Moscow tour will give you a true taste of the history, culture and incomparable urban vibe that define one of the world’s largest metropolises. In just three days, this Moscow itinerary takes in all the most iconic sights of this attraction-packed destination. After two and half days getting acquainted with the city, we’ve set time aside for you to explore Moscow your way and discover your own favourite hang-outs in a city overflowing with hidden treasures

3-Day Moscow Tour Highlights:

• Panoramic Tour of Moscow: See Moscow beyond the postcard images on a private excursion by car through the city streets including a drive along the banks of the Moskva River. Visit the famous Bolshoi Theatre, pass by Gorky Park and the Novodevichy Convent, and admire the city from on high at the Sparrow Hill observation platform.
• Moscow Historical City Centre Guided Walking Tour : Immerse yourself in the atmosphere of one of the world’s biggest metropolises and discover local haunts on foot, including the Red Square, the Kremlin and the multi-coloured domes of St Basil’s Cathedral.
• Armory Chamber tour: Explore the endless treasures of this unique museum, displaying the wealth accumulated by Russian rulers from the 12th century until the October Revolution of 1917. Walking through the exhibition halls is a journey through the centuries.
• Moscow Metro Tour : Go deep underground on a subway tour of the famous Moscow metro. The world’s deepest metro system is renowned for its palatial, art-adorned stations, complete with marble columns and chandeliers.

On your first day, you’ll be treated to a panoramic, drive-by tour of Moscow to get a feel for the immense scale of one of the world’s most rapidly developing urban centres. The city’s history unfolds in real-time as you pass lavish imperial mansions, solemn Soviet structures and luxurious modern shopping centres.

Day two kicks off exploring Moscow’s historic centre on foot, followed by a tour of the Kremlin, the seat of Russian power and political intrigue for centuries. Stand in the Red Square, surrounded by the stunning architecture as you hear stories of the people and events behind many of Moscow’s most iconic landmarks.

On your final day, we’ll head beneath the city for a tour of the Moscow Metro and its famously ornate underground stations. Art lovers should hit up one of Moscow’s many world-class galleries such as the Tretyakov State Gallery, the Pushkin Museum or Garage, Moscow’s cutting-edge contemporary art museum. History fans can follow a Soviet trail through the city including Stalin’s Bunker, while those seeking a more indulgent experience can browse trendy neighbourhoods like Kitay Gorod or shop for everything from fashion to kitsch souvenirs at the enchanting Izmaylovo Flea Market. Foodies can head to one of the countless speciality stores sampling vodka, caviar and chocolate.

If you only have a few days to spend in Moscow, this tour will ensure you make the most of your time in the city. Let the experts navigate you through this complex and occasionally overwhelming capital, giving you plenty of time to soak up the city’s most unmissable attractions.

Accomodation

Not Included

Sightseeing

Action rating ?

Type of tour

3 days / 2 nights

Private - Any Date

Day 1 Panoramic city tour

Welcome to the glorious capital of Russia, Moscow! You’ll be met by your driver at the airport and taken to your centrally located hotel.

After check-in and rest, meet your private guide at the hotel lobby for a comprehensive tour of Moscow by car. Visit the starkly contrasting Theatre Square to see the stunning Bolshoi Theatre, pass Tverskaya Street, the city’s main boulevard and home to the landmark Yeleseyevskiy Grocery Store.

You’ll enjoy a panoramic drive along the Moskva River, where a huge, controversial state of Peter the Great was erected. Pass by the legendary Gorky Park and the White House before a stop at the architecturally stunning Novodevichy Convent, and the observation platform at Sparrow Hills, for a bird’s eye view over this staggering megalopolis.

Day 2 Red Square and Kremlin

After breakfast at the hotel, your guide will take you on a walking tour of the historical city centre. Stroll through the Red Square, the hub of cultural life in Moscow, with its elaborate ‘stone flower’ fountain and fantasy-like St Basil’s Cathedral – a postcard-perfect symbol of the nation. Admire the grandiose façade of GUM, the city’s most luxurious shopping centre, and visit Alexander’s Garden, with its eternal flame and the chance to watch a changing of the guards.

Break for lunch before continuing on a tour of the Kremlin and Armoury Chamber, famous of its collection of tsarist fashion, with regalia such as jewel-encrusted crowns, orbs and sceptres as well as arms and armour, exotic gifts from the leaders of faraway lands, and an illustrious case of Imperial Faberge eggs.

As an option* spend an evening on a sumptuous dinner cruise, taking in the stunning sights and city lights of this mesmerising metropolis by night.

Day 3 Metro and Arbat Street

Start a day with a tour of Metro, stopping on the way to marvel at some of the most elaborately decorated stations of the world-famous Moscow subway system. Take a stroll along Old Arbat street - the most famous street in Moscow. Through the centuries Arbat used to be one of the most bohemian places in Moscow. Today Arbat is a promenade full of small cozy cafes and street life.

The afternoon is free for you to either enjoy the rest of the day on your own or choose among optional excursions to explore more of Moscow. Visit the Tretyakov Gallery or Pushkin State Museum to admire Russian art. Join locals for a stroll at the Gorky or VDNH park.

Visit beautiful Kolomeskoye Estate or Izmailovo Kremlin, or spend a day exploring the beautiful city of the Golden Ring (Russian province) - Sergiev Posad. In the evening you will be transferred to the airport for your departure to your next destination.

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Group airport/train-station arrival and departure transfers

All transportation according to the itinerary with a private driver

4* hotel accommodation in the historical city center (twin/double)

Local licensed English-speaking guide

All activities, indicated in the itinerary, except optional

Entry fees according to the itinerary (skip-the-lines policy)

Russian visa support document

Travel insurance

Russian visa and visa fees. Russian visa can be arranged by 56th Parallel for an additional cost (for Australian citizens only). Apply for concierge visa service here .

Optional excursions/activities

*Private tour. Price is per person, based on min 2 people

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Why travel to Russia with 56th Parallel?

Destination Specialists

Our team offers over 18 years of experience travelling and planning travel in Russia. Delivering outstanding travel experiences in Russia’s capitals and in some of the most stunning & remote locations takes experience, special access and the right connections. We make sure that all the fine details are handled perfectly so you can enjoy your Russia travel experience.

Group & Private Tours

The choice to join a small group on a guaranteed departure or chose to travel on your own dates with your own mates. Each destination we travel to in Russia offers an option between private tours and small group tours. Please note: on our adventure tours in remote destinations, we mostly run group tours to keep the cost down.

Bonded & Licensed

56th Parallel is a fully licensed, insured and accredited travel provider.

From USD $730

Day 1: Panoramic city tour

Day 2: red square and kremlin, day 3: metro and arbat street, not included, start planning your tour.

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