Phyllis Feder, born Phyllis Rich in 1936, was raised in The Bronx, New York. Her professional career began at The Greater New York Fund in public relations. In 1969, after forming a friendship with Milton Glaser, she joined Push Pin Studios where she remained for 24 years. During her time there, Phyllis served as a sales rep, graphic designer, and partner. Her contributions included spearheading Pushpinoff Tins, known as “the world’s most tasteful line of sweets and snacks in beautiful collectible containers” according to the Seymour Chwast Archive. In 1989, Phyllis married Ben Feder, a Parsons graduate. Together they managed his vineyard, Clinton Winery, which Phyllis continued to care for after his death. As of 2026, she lives in Clinton Corners, New York.

References Audio recording of conversation with Phyllis Feder during archival visit with Wendy Scheir and Christina Moon (November 20, 2025). Accessed July 14, 2026.

Feder, Phyllis, “A Love Letter to our Wine Industry,” New York Wine & Grape Foundation (January 3, 2023). https://newyorkwines.org/a-love-letter-to-our-wine-industry/. Accessed July 14, 2026.

Push Pin Studios began in 1954 as a collaboration between four Cooper Union-taught art students Seymour Chwast, Milton Glaser, Reynold Ruffins, and Ed Sorel. By the mid-1960s, it would become one of the best-known design studios in the world, contributing to popular commercial art including book jackets, record covers, posters, ads, and magazine covers. Marked for its eclectic and highly referential graphic style, the studio’s designs stood apart from other mass-market product advertisements of the day by rejecting modern minimalism and classic typefaces and embracing interpretations of historical styles such as Victorian, art nouveau, and art deco. In 1969, Push Pin Studios became the first American graphic design studio to put on an exhibition at the Louvre in Paris, France. The exhibition went on to tour numerous cities in Europe, Brazil, and Japan from 1970–72. Today, its legacy lives on through Seymour Chwast, who continues to produce work as The Pushpin Group, Inc.

References Dougherty, Philip H., “Advertising: Happy Day at D.D.B.,” The New York Times (June 21, 1973, Page 68). https://www.nytimes.com/1973/06/21/archives/advertising-happy-day-at-d-d-b-be-it-nude-or-an-orgy-concern-wont.html. Accessed July 14, 2026.

Heller, Steven, “The Revolutionary Seymour,” Seymour Chwast Archive. https://seymourchwastarchive.com/about/seymour/. Accessed July 14, 2026.

Lippert, Angela, ed., The Push Pin Legacy, Poster House (September 2, 2021–February 6, 2022), https://posterhouse.org/wp-content/uploads/2021/01/PH_Exh_PushPin_FinalPDF.pdf. Accessed July 14, 2026.

“Pushpinoff Products,” Seymour Chwast Archive (1981), https://seymourchwastarchive.com/collection/pushpinoff/. Accessed July 14, 2026.

Vienne, Veronique, “The Push Pin Phenomenon: Glaser, Chwast & Co,” Veronique Vienne (1997). https://www.veroniquevienne.com/article/the-push-pin-phenomenon_br-glaser-chwast--co. Accessed July 14, 2026.