Who is Lisa Kiss

Long before I ever picked up a paintbrush, I was playing in my mother's scarf drawer, imagining I'd grow up to be the next Vera. That childhood dream turned into a lifetime of studying and making art, with one motivation that's never changed — making art people could wear anywhere, and pass down to their daughters.

I first apprenticed under a protégé of Norman Rockwell in the Old Masters tradition of drawing and painting from age 14–18, then studied painting and art history at Washington University in St. Louis. A class in painting on fabric at Penland School of Craft led me right back to that childhood dream, and to my life's work.

For 17 years, I ran a studio in Lower Manhattan, where I painted directly onto velvet using Harite and Shinshi, an ancient Japanese stretching technique (described below) traditionally used for kimono fabric, under the name Lisa L. The velvet scarves were carried at Barneys, Nordstrom, and over 200 stores nationally and internationally, with a feature bio in Women's Wear Daily. After losing that studio — and my full press archive — on 9/11, I moved to the East End of Long Island and paused for 17 years to raise my two daughters — then returned in 2018–2025, selling a new collection under the name Lisa Kiss at the Grand Central Holiday Market.

I still begin every design as an original painting or drawing, but now the final designs are printed overseas onto the silk & velvet. The cashmere is hand-painted by artisans in Jaipur, India. That same artwork now also lives on matching silk pet bandana sets for you and your dog, under the name Fetching by Lisa Kiss.

Every scarf starts as my own original artwork, not a licensed print or a factory design. When you buy a Lisa Kiss scarf, you're not buying an accessory off a shelf — you're wearing an original, from an artist with a long, proven history — forty years and counting.

I still remember my mother's scarf drawer. Now, I hope one of my scarves finds a place in yours — for your mother, your daughter, or yourself.

A bit about the ancient Japanese technique I was using for many years to paint the velvet scarves.

Each “run” of fabric, measuring 9 yards long, begins as a blank white canvas. Using an ancient Japanese method of stretching fabric with “Harite” clamps and “Shinshi” bamboo tension bars—a process used to paint fabrics for Kimonos.

After the painting is complete, a drying period and a series of rinses allow the dye to set, preventing any future color bleed and ensures that the fabric remains bold and bright for many years to come. The full process can take up to four days to produce a finished scarf, depending on the complexity of the design.

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