Éléonor Houplain is a wonderful woman! Radiant and effusive, you could listen to her for hours, as her world is unlike any other. Her secret? She feeds her talent with curiosity and imagination. Forget trends; Éléonor steers clear of them to better make each space her own. A master of monochrome, she delights in working with colour in her projects, each one possessing its own distinct identity.
Éléonor Houplain
Éléonor, can you introduce yourself?
After founding and running a fashion communications agency for many years, I finally decided, ten years ago, to devote myself exclusively to interior design, a creative pursuit I had already been quietly pursuing on a personal basis as well as for friends.
Your decorating mantra?
Try to preserve as much of the original decorative and architectural detail as possible. And, on a different note, open up the views, avoid obstructing the line of sight, and try to ensure that the space remains open and airy.
What do you think of the concept of good taste?
It’s a trick question, isn’t it? The definition reminds us that it is anything that isn’t ostentatious. In my view, it is simplicity and minimalism. It’s about striking a balance between our desires and the harmony between the various elements.
If you were a room in the house?
La salle de bains. Pourquoi ? Parce que je suis totalement égocentrique, voyons ! Haha ! Trêve de plaisanterie, c’est la pièce que je préfère dessiner : elle représente pour moi le seul espace complet dans son architecture, ses lignes et ses structures. Une fois réalisée, elle se suffit à elle-même et ne nécessite aucun achat superflu pour exister.
Mais pour répondre correctement à cette question, si j’étais une pièce de la maison, je serais une cuisine. Elle est le cœur de la maison : elle rassemble l’accueil, les échanges… la vie ! C’est là où tous les moments d’échange circulent tout au long de la journée.
The top 3 of your bucket list?
I’ve had enough! I’d love to explore the countless deserts: I’m captivated by their textures, their light and their vast expanses. Let me emphasise this: I’m fascinated by those vistas stretching as far as the eye can see, where the eye never stops.
I’d also love to discover as many cave-dwelling towns as possible: it’s such enchanting architecture.
Otherwise, just for the sake of it, just for fun, I’d love to fly like in dreams! But that’s not going to happen!
I’d like to add a project I’d love to develop, though it’s still just a wish, an idea for the future: to take the time to set up an artists’ residency, find a place and devote myself to it.
And finally, I’d like to learn the craft of plaster moulding.
If you were an artist?
I would have loved to have painted the George Hendrik Breitner painting, Fille en kimono. Too bad, but unfortunately I didn’t paint it!
There are several versions, in red and white: they are stunning, so delicate and fragile. I can’t quite find the right words to describe how I feel when I look at them. Their ephemeral nature touches me deeply. I wish I could master this art and convey such emotions.
Your dream project?
A castle! I’d love to be commissioned to carry out a complete restoration of a castle and its interior design: to delve into its history, uncover it and adapt to it. Then to hunt for treasures and build around certain objects, certain historical features, drawing on that unique craftsmanship which has now been lost.
Your current obsession?
Raw materials, plaster and its finishes: details such as cornices, door and window frames, picture rails, etc.
Your commitment to a better tomorrow?
We must continue to keep craftspeople fully occupied. Craftspeople are fundamental to our trade, and their skills are being lost – something that is simply unacceptable. Workshops are struggling to recruit young people who are keen to learn how to work with metal, wood, plaster and stucco. Without them, my projects would not be what they are today.
Éléonor’s world
Returning to the roots
The original architecture is of paramount importance to me. I refuse to demolish certain details that are truly at the heart of historic architecture. On the contrary, I use them as the foundation for my projects and take great pleasure in restoring what once was, taking care to ensure that it goes unnoticed, as if it had always been there; any planned layout will be designed and executed so that one cannot tell it did not exist before. It is a pleasure to work within the framework of the original building: imagining a 1900s house and conducting in-depth research to adapt it to the clients’ needs in this new setting.
Key steps: planning and developing the project
A project begins with a meeting with the client to draw up a brief; it’s essential to make time for them and have a long chat to get to know them, understand their wishes and expectations. In my view, this is the only way to pick up on the finer details. And, because I’m curious to know what influences them, I ask them to put together a selection on Pinterest or a mood board. This helps me understand things much more quickly. From that point on, I can start visualising the project and sketching. The bond of trust is paramount. It is the backbone that allows us to see our projects through to the end with confidence. We must take on the role of a conductor.
Hand in hand with local craftspeople
When it comes to craftsmanship, it is indispensable. Thanks to them, we can create spaces that are entirely bespoke, whether in terms of structure, architecture, furniture or fittings. Craftsmen can meet every one of our wishes and requirements, down to the very last detail. Their knowledge and expertise enable us to shape and bring all our projects to life, both technically and aesthetically. They are the ones who bring our visions to life. They pass on their expertise to us; we grow alongside them, and this knowledge gives us the freedom to explore new ideas. With every new project, based on the details I have in mind, we work together to figure out how to make them a reality. In this way, we can create almost anything: lamps, basins, arches, furniture.
When it comes to furniture – sofas, armchairs, fabrics, curtains – I prefer to work with brands such as Le Monde Sauvage, which are committed to craftsmanship and know how to adapt to our constraints and requirements. I believe it is essential to engage in dialogue and collaborate in order to create together. This combination of expertise is far more productive and also makes for a much more rewarding human experience.
“Craftspeople are fundamental to our trade, and their skills are being lost – something that is simply unthinkable. Without them, my projects would not be what they are today.”
What are your main sources of inspiration?
It depends. I might be inspired by the location and its architecture, by a specific time period, or even by what my client and their personality bring to mind. But I’d say my inner world is like film sets or my dreams: they’re varied and boundless. Fortunately for me, working for private clients allows me to be versatile.
I’ve got a whole list inspired by my favourite subjects:
▪ Italian architecture, the monastic or Baroque spirit
▪ the Bauhaus
▪ the Art Deco period
▪ Art nouveau
▪ workshops and old buildings
▪ modernist and mid-century buildings, as well as Asian influences.
But what inspires me most of all is when places are in a particularly dilapidated state.
How to shake up an overly sterile interior?
By breathing new life into it, by bringing out its existing details, and by incorporating vintage finds or architectural features that add depth and evoke emotion.
What does Le Monde Sauvage inspire in you?
Travel, comfort, family, home: a warm, welcoming and tender world. Le Monde Sauvage is a brand that makes me want to relax; it’s a world rich in fine fabrics, prints and cheerful colours.
Éléonor’s shopping list
eleonorhouplain.studio I www.eleonorhouplain.com
📸 Clément Gérard I Marion Payet I Bertrand Fompeyrine I Fred Aufray
