Ashley Olsen and her longtime boyfriend, artist Louis Eisner, apparently secretly tied the knot last week.
The very private couple kept their recent nuptials totally under wraps, according to Page Six. The pair held the low-key ceremony at a private home in Bel-Air last Wednesday with only a few dozen guests in attendance. While no concrete details about the ceremony have been divulged, an insider did tell the outlet that the party “went late with 50 people or so total” in attendance.
Olsen and Eisner have been dating since October 2017, but the fashion designer has yet to publicly comment on their relationship. They also very rarely make public appearances, only walking one red carpet together over the course of their relationship. They made their official debut last September at an event held in honor of the Young Eisner Scholars, a nonprofit founded by the artist’s father, attorney Eric Eisner, who was formerly the president of the David Geffen Company. Eisner’s mother is jewelry designer Lisa Eisner who was also formally the West Coast editor of Vogue.
Olsen first sparked rumors she might be engaged in June 2019 when she was spotted out on a movie and dinner date in Los Angeles with Eisner. She was dressed casually at the time in an oversized black sweatshirt and matching sweatpants, but fans noticed a new, dark band adorning her lefthand ring finger. The painter is also the one responsible for posting that instantly viral photo of his girlfriend to Instagram last year showing her hiking through the woods in an all-white ensemble while carrying a giant machete and a glass of white wine in her hand.
In June 2021, Olsen and her twin sister Mary-Kate shared a bit about why they prefer to keep everything about heir lives so private after spending so much of their childhood in the spotlight. “We were raised to be discreet people,” Mary-Kate told i-D when asked about their label The Row’s restrained designs. Ashley added, “I think that potentially that’s just our aesthetic, our design preference. But that doesn’t mean that we don’t also appreciate something truly ornate or maximal. Sometimes a collection even starts quite like that, and then gets pared down. It doesn’t always start from that simplistic place.”