“There is design in everything…in a cloud, in a wall, in a chair, in the sea, in the sand, in a pot.”
Clara Porset, 1952
A design trailblazer, Clara Porset challenged social norms of her era and transformed everyday items into objects of art. Born in Matanzas, Cuba, in 1895, Porset spent significant periods of her life in Mexico, where she is now hailed as a cornerstone figure in Mexican design. She rose to prominence during that country's “heroic period” of design, spanning from the 1940s to the ’70s, an era that witnessed the flourishing of industrialization and new commercial opportunities for designers.
Porset studied in the United States and France, gaining expertise in art, architecture, and design. Returning to Cuba in 1929, she became involved in social and political circles opposing the regime of President Gerardo Machado. Contributing to journals and engaging with the anti-imperialist Minorista group, Porset immersed herself in Cuba’s intellectual and artistic scene. In 1932, amid political turmoil, she went into voluntary exile in New York, advocating against censorship and harassment. She returned to Cuba after Machado’s fall, assuming a teaching position at Havana’s technical college. Her pedagogical journey also led her to Black Mountain College in North Carolina, where she encountered Josef and Anni Albers, influential figures in her life and work. She said, “Seeing is better than reading, so I went to Black Mountain College, a place lost in the mountains of North Carolina…where Albers now gives his wonderful teaching.” (Porset convinced Josef Albers to give a series of lectures in Havana in December 1934 and January 1935. Later, the Alberses made over 12 visits to Mexico.)
Following her involvement in the Cuban general strike in 1935, Porset was once again exiled, this time finding refuge in Mexico. Embracing Mexico’s post-revolutionary (1910–17) spirit, she embarked on a journey of design inspired by heritage and tradition. Collaborating with artists and intellectuals, Porset contributed to the cultural and political landscape of post-revolutionary Mexico. Porset’s marriage to artist Xavier Guerrero further deepened her connection to the country’s culture and politics. Together, they participated in several projects, including the 1941 Organic Design in Home Furnishings competition organized by MoMA in New York—the first such event at the museum to include Latin American designers. They endeavored to translate the vision of the Mexican Revolution into everyday objects. Over time, she succeeded in making a name for herself, and was the only woman known to have collaborated with the most distinguished architects of Mexican modernism: Luis Barragán, Max Cetto, Juan Sordo Madaleno, and Mario Pani, among others.
In 1952, with the support of Mexico City’s Instituto Nacional de Bellas Artes, Porset organized El arte en la vida diaria: Exposición de objetos de buen diseño hechos en México (Art in Daily Life: Well-Designed Objects Made in Mexico), Mexico's first formal design exhibition in a museum context. Porset’s commitment to design education led her to establish programs and courses that left a lasting impact on the field. Her involvement in Cuba’s revolutionary projects in the 1960s underscored her dedication to design for social change. Returning to Mexico after her Cuban ventures, Porset balanced her design career with teaching. She cofounded a graduate course in industrial design and continued to teach until her death in Mexico City in 1981.
Throughout her career, Porset pursued “expressive design” inspired by local cultures. She drew inspiration from vernacular furniture, especially the butaque, a low, curved chair traditionally crafted with a wooden frame and animal-skin seat. The classic butaque chair traces its origins to at least the 16th century, incorporating functional design elements introduced by Spanish conquistadors. Modifications over time have adapted it to varying geographies, climates, and available natural resources. Porset’s exploration of the butaque’s cultural significance and history of adaptation was comprehensive and influential, inspiring subsequent generations of Latin American designers to explore themes of culture, identity, and place. Porset saw the butaque as a symbol of Mexico’s complex national identity. She extensively researched its structure and craftsmanship, experimenting with materials and dimensions to enhance both comfort and aesthetics while honoring tradition. Chairs, particularly, held a central place in Porset's work, showcasing her commitment to harmonizing form and function in regional design.
Amanda Forment, Curatorial Assistant, Department of Architecture and Design, and Ana Elena Mallet, art historian, 2024
