Mary Bright

On 11 January 1954, Bright was born in Edinburgh, Scotland.^[1] She was the daughter of a family doctor.^[2] Bright learnt fine arts in London and then fashion and millinery in Leeds;^[3][4] despite this, she did not formally train as a designer.^[2][3] Bright did a brief apprenticeship period at Paris' Lanvin fashion house, where she learnt millinery's secrets. At Gelot, she sewed men's hats.^[2][5] In 1979,^[6][7] she relocated to the East Village neighbourhood of New York City, working as a hat maker,^[2][3] learning the production of both garments and sowing.^[8] To complement her work, Bright became a clothing designer, completing such projects as a cocktail dress with a revealing back shielded by slats by a window blind.^[2]

In 1983, she began working as a curtain designer in her own studio Mary Bright Inc. in lower Broadway,^[1][5] when she designed a 60 ft (18 m) curtain for Ellen Barkin, the actress.^[2][4] According to The Times, Bright "found herself in great demand, often working with New York's leading architects and interior designers."^[2] Such clients of hers included Lauren Bacall,^[4] Calvin Klein, The Mercer Hotel of New York,^[5] Bette Midler,^[1] Museum of Modern Art of New York, Rupert Murdoch, Wendi Deng Murdoch and Jean-Georges Vongerichten among other contemporary architects such as Laurie Hawkinson, Henry Smith-Miller, Keenen Riley, Michael Schmitt and Kevin Walz.^[5][8] One of Bright's works, which was a 12 ft (3.7 m)-high, 26 ft (7.9 m)-wide undulating veil of tiny metal coils, was hung in the Museum of Modern Art's restaurant.^[2][8] She was a contributor to exhibition design, such as for Mies in Berlin at the Museum of Modern Art in 2001.^[7]

She was married to David Paskin from 1990 to 2002.^[5] In 2002, Bright was diagnosed with lung cancer, which had metastasised to her brain and body treated with radiation and steroids.^[1][5] On 29 November 2002, she died from lung cancer at NewYork-Presbyterian Hospital.^[3][4]

Bright experimented by using the materials corrugated paper, rubber and fine metal meshes,^[3][6] with linen and wool that was cut and sewn on.^[4][5] Using such materials garnered her much attention,^[6] and she would spread the fabric on a 30 ft (9.1 m) worktable,^[2] before cutting it up with her 8 in (200 mm) shears.^[8] Every room of her clients saw Bright apply a different solution of materials,^[5] such as blends, buttery wools, shimmering linens, synthetics, and Teflon-coated nylons of which she promoted.^[9][10] She said in 1997: "I try to find other ways besides using fringe and tassels to make curtains look interesting."^[8] Bright also used silvery metals in her works starting from 1987, which gradually became fashionable, and included 3 in (76 mm) of silk taffeta lining peering at the centre and bottom in the style of a petticoat to distinguish.^[8]

John A. Hoch described her legacy in the January 2003 issue of Metropolitan Home: "As a needle woman, she certainly flourished in her exacting craft in the most inventive and creative sense. And then there was Mary's depth of perception--whether at a showroom, an East Village restaurant or local coffee shop. Mary could assess a group or individual and ignite the situation into fiery brilliance with wit and sparkle, or calm it with that inner serenity of hers."^[7] Hoch also referred to Bright as "a larger-than-life individual" and "a unique talent".^[7] William L. Johnson of The New York Times wrote of Bright's artistry: "from controlled chaos – a crinkled polyester curtain for a New York apartment that looks alive with the electricity of an approaching storm – to a flatness as tranquil as a flat sea."^[5]