Irish-born designer Eileen Gray (1878-1976) was one of the more talented figures in the story of twentieth-century design. Active in France during the first three decades of the twentieth century, she had never become enmeshed with any movement. After moving to Paris in 1902, Gray leant the craft of Japanese lacquer, set up a lacquer workshop, and was discovered by couturier, turned designed patron Jacques Douce. The interior she created for Madame Mathieu-Levy in Paris is considered among the most ambitious and beautiful interiors of her time, and since meeting Romanian architect Jean Badovici in 1921, Gray moved towards modernism. She opened a shop in Paris, and designed E1027a modernist villa in the French Riviera. A monograph exhibition at the Centre Pompidou, curated by Cloé Pitiot opened in 2013, followed by a retrospective at the National Museum of Ireland, curated by Pitiot and Jennifer Goff; two films on Gray, the documentary “Gray Matters” (directed by Marco Orsini) and the feature “The Price of Desire” (directed by Mary McGuckian) aired in 2014; E1027 will be open to the public in the spring of 2015; Goeff’s publication “Eileen Gray: Her Work and Her World” was recently published; and another retrospective will be open at the BGC next year. Eileen Gray, Why Now? To address this question, I will moderate a panel discussion at the New York School of Interior Design on April 13th with four extraordinary women: Cloé Pitiot, curator at Centre Pompidou; Jennifer Goff, curator at the National Museum and author of the recently published “Eileen Gray: Her Work and Her World”; Adriana Friedman, Director of legendary DeLorenzo Gallery; and Sandra Gering, founder of the Friends of E1027. Tickets are now available.