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A sense of Japan hovers over Eileen Fisher’s modernism (as it does, when you think about it, over modernism itself). One day, while at a printing shop to which she had brought a design for stationery, “this Japanese guy was also printing something, and he looked at my design and liked it and said, ‘I’m a graphic designer, and I need an assistant. ’ I applied and he hired me and we ended up getting into a relationship.
When the encounter with the Japanese designer took place, in the mid-nineteen-seventies, she was a young woman from the Chicago suburb of Des Plaines (“Home of Mc Donald’s, Anywhere, U. A.,” in her description) who had recently graduated from the University of Illinois as a home-ec major and had come to New York to become an interior designer. I moved in with him—that was kind of a mistake—but the working part of it was a great experience. We went to Japan to work on advertising projects for clients like Kirin beer and a large stationery company and a big chemical company. The piece you’re wearing is an extension of the kimono.”The piece I was wearing was a heavy, charcoal-gray wool cardigan sweater that I bought at an Eileen Fisher shop six or seven years ago and rarely wear because it is rarely cold enough to wear it.
But she had planned to serve sushi prepared by her Japanese cook, who had been called away at the last minute.
I was attracted by the austere beauty of the clothes. There was an atmosphere of early modernism in their geometric shapes and murky muted colors.
is a wish shared by women who consider themselves serious that the clothes they wear look as if they were heedlessly flung on rather than anxiously selected.
The clothes of Eileen Fisher seem to have been designed with the fulfillment of that wish in mind.
“It was three weeks before the show, and I had no clothes. I ended up hiring someone to sew for me and make the first patterns.”“You drew the designs? ”“Yes, and I said to Gail, the woman who was making the patterns, it’s kind of like this, but the neck is more like that, and it’s a little longer, or it’s a little shorter, it’s a little wider, it’s got a long sleeve or a shorter sleeve or something like that. Gail sewed the clothes—there were four garments made of linen—and I took them to the boutique show and hung them up.
I remember being terrified standing there and waiting for what people would say.
Estimating a date of mixture of ancestral South Asian populations Linguistic and genetic studies have demonstrated that almost all groups in South Asia today descend from a mixture of two highly divergent populations: Ancestral North Indians (ANI) related to Central Asians, Middle Easterners and Europeans, and Ancestral South Indians (ASI) not related to any populations outside the Indian subcontinent.