Eugenia Huici Arguedas de Errázuriz: Pioneering Minimalist
Eugenia Huici Arguedas de Errázuriz (1860-1951) was a Bolivian-born socialite and patron of the arts whose influence on interior design and fashion was nothing short of revolutionary. Long before French couturier Coco Chanel uttered her famous words “Before you leave the house, look in the mirror and take one thing off,” Errázuriz had already embraced a minimalist aesthetic that would go on to shape the tastes of an entire generation.
Born into a prominent Basque family, Errázuriz moved to Paris in 1882 with her husband, the painter and diplomat José Tomás Errázuriz Urmeneta. It was there that she began to make her mark on the world of design, famously rejecting the ornate, tasseled interiors that defined the Belle Époque in favor of a more pared-back approach. As described by art historian John Richardson, Errázuriz’s apartments were characterized by “whitewashed walls, bare floors, and sparse furnishings” – a revolutionary concept at the time.
Errázuriz’s influence went beyond just interior design, extending into the worlds of art, literature, and music. She was a patron to many of the era’s most celebrated artists, including Pablo Picasso, and her minimalist sensibilities even had an impact on the fashion industry, inspiring the signature “shocking pink” color used by designer Elsa Schiaparelli.
Errázuriz’s commitment to simplicity was not just an aesthetic choice, but a reflection of her deeply held religious beliefs. As a devout Catholic, she saw excess and material indulgence as sinful, and her interiors were imbued with a sense of spiritual serenity. Her great-niece, Parisian socialite Patricia López-Willshaw, described Errázuriz’s homes as having “the peace of a convent.”
Yet despite her ascetic inclinations, Errázuriz maintained a feeling of luxurious refinement through her meticulous attention to detail. She employed the best upholsterers in Paris to create custom slipcovers for her furniture, and her table settings featured the finest linen and French silver flatware. In this way, Errázuriz embodied a unique blend of piety and extravagance that captivated the minds of her contemporaries, including Marcel Proust, who made reference to her in his novel “Time Regained.”
Errázuriz’s impact on the world of design was so profound that she has been hailed as a “minimalist fifty years ahead of her time.” Her influence can be seen in the work of later designers like Jacques Grange, Stephen Sills, and Peter Marino, who have all embraced her pared-down aesthetic and integrated found objects into their interiors. Today, Errázuriz’s legacy continues to inspire a new generation of designers and homeowners seeking a serene, sophisticated approach to interior design.
Tamara de Lempicka: The Embodiment of Art Deco
While Eugenia Huici Arguedas de Errázuriz embodied the minimalist spirit of the early 20th century, Tamara de Lempicka (1898-1980) was the quintessential Art Deco doyenne, captivating Parisian society with her bold, seductive style and innovative artistic vision.
Like Errázuriz, Lempicka arrived in Paris as a refugee, fleeing the Russian Revolution in 1918. Determined to make a name for herself, she immersed herself in the city’s thriving avant-garde scene, taking lessons from leading artists of the era, including Maurice Denis and André Lhote.
Lempicka’s unique aesthetic was a synthesis of influences, from the Cubist and Futurist movements to the Mannerist painters of the Italian Renaissance. Her large, figurative compositions often featured fractured planes and distortions, as well as the curvaceous, fleshy nudes characteristic of Neoclassical art. However, Lempicka’s approach was decidedly modern, imbuing her subjects with a sense of empowerment and sensuality that broke free from the male gaze.
Lempicka embodied the trope of the “modern woman” – ambitious, single-minded, and unencumbered by traditional gender roles. This ethos was reflected not only in her art but in her carefully cultivated public persona, which she used to ingratiate herself within the upper echelons of Parisian society.
Unlike the reserved Errázuriz, Lempicka was a gregarious socialite, known for her extravagant dress and her associations with avant-garde luminaries like Jean Cocteau and Gabriele d’Annunzio. Her glamorous lifestyle and portrait commissions of the European elite earned her considerable fame and fortune, but also invited criticism from those who saw her work as little more than flattery for the wealthy.
Nevertheless, Lempicka’s impact on the design world was undeniable. Her iconic Art Deco-inspired interiors, commissioned from architect Robert Mallet-Stevens, embodied the sleek, streamlined aesthetic of the era, incorporating bold geometric forms, chrome fittings, and a careful balance of light and shadow.
Lempicka’s “Autoportrait Tamara in the Green Bugatti,” a striking self-portrait commissioned for the cover of the German fashion magazine “Die Dame,” has become a symbolic representation of the freedom and empowerment associated with the modern woman of the interwar period. Though her fame and influence eventually waned, Lempicka’s legacy as a pioneering female artist and tastemaker continues to captivate design enthusiasts and art historians alike.
Colette Aboucaya: Patron of the Avant-Garde
In contrast to the high-profile, self-promoting Lempicka, Colette Aboucaya (1896-1997) was a more introverted, yet equally influential, patron of the French modernist movement. Born into a wealthy Parisian family, Aboucaya had no need to garner attention or make a living through her artistic endeavors, allowing her to focus solely on supporting and nurturing the creative vision of others.
Aboucaya’s entry into the world of French modernism came through her father, Léon Aboucaya, and his automobile coachbuilding business. In 1928, Léon and his brother Samuel acquired the renowned Parisian firm Henri Binder, transforming their vehicles into veritable works of art through the use of exotic materials and avant-garde lacquer designs by Franco-Swiss artist Jean Dunand.
It was at the landmark 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes that Mademoiselle Aboucaya first encountered Dunand’s extraordinary lacquer work, leading to a commission for the artist to design the boiseries (wood paneling) of a smoking room in her apartment on the fashionable Rue de Monceau.
Dunand’s design for Aboucaya’s private retreat was a stunning expression of French Art Deco luxury, featuring an abstracted palm grove in shimmering tones of silver, gold, and black lacquer. The room’s furnishings, by Japanese artist Katsu Hamanaka, and the corresponding carpet by Ivan da Silva Bruhns, further reinforced the sophisticated, yet masculine, aesthetic.
Unlike Lempicka, who curated a highly public persona, Aboucaya became so enamored with preserving the pristine, time-capsule-like quality of her Dunand-designed smoking room that she rarely allowed visitors to enter, preferring to retreat to the more utilitarian spaces of her apartment. This passion for preservation, while admirable, unfortunately led to the room’s eventual dismantling and dispersal after her death at the age of 101.
Aboucaya’s role as a patron of the arts, rather than a practitioner, speaks to the vital importance of such figures in shaping the cultural landscape of the early 20th century. By supporting the visions of pioneering designers like Dunand, she played a crucial, if often overlooked, part in the development of French modernism, ensuring that the ideals of luxury, craftsmanship, and innovation were given a platform to thrive.
Enduring Legacies and Timeless Designs
The stories of Eugenia Huici Arguedas de Errázuriz, Tamara de Lempicka, and Colette Aboucaya illustrate the rich diversity of design philosophies and artistic approaches that emerged during the early to mid-20th century. From Errázuriz’s serene, minimalist interiors to Lempicka’s bold, glamorous aesthetic, and Aboucaya’s role as a patron of the avant-garde, each of these women left an indelible mark on the world of design.
Today, their legacies continue to inspire a new generation of designers and homeowners seeking to infuse their spaces with a sense of timeless sophistication and luxury. Errázuriz’s pared-down, yet refined, approach to interiors can be seen in the work of contemporary designers like Urban Grace Interiors, who prioritize clean lines, natural materials, and a focus on craftsmanship.
Meanwhile, the bold, unapologetic style of Lempicka has experienced a resurgence in popularity, with her iconic Art Deco-inspired interiors and avant-garde self-portraits serving as touchstones for those seeking to capture the glamour and dynamism of the interwar period.
And while Aboucaya’s role as a patron may have been more behind the scenes, her commitment to preserving the extraordinary work of artists like Dunand underscores the vital importance of supporting and nurturing creative vision, even in the face of changing trends and tastes.
As we navigate the design landscape of the 21st century, the lessons and inspirations of these three remarkable women offer a timeless and invaluable guide. Whether you’re drawn to the serene minimalism of Errázuriz, the dazzling opulence of Lempicka, or the refined elegance of Aboucaya’s patronage, their shared legacies serve as a testament to the enduring power of design to transform not just our spaces, but our very lives.
