In an era dominated by mass production, French artist-designer Sarah Espeute breathes new life into the age-old craft of embroidery with her brand, Œuvres Sensibles. Operating from her Marseille studio, she transforms vintage textiles into minimalist yet evocative pieces that blend tradition with modernity. Through her self-taught techniques, Espeute invites us to pause and find beauty in the everyday moments her creations encapsulate.
hube: Your work blends tradition with modernity in a way that feels both timeless and revolutionary. What inspired you to take embroidery, a centuries-old craft, and reimagine it in such contemporary ways?
Sarah Espeute: There are several reasons behind this choice. The first was economical: when I wanted to create design objects on my own, textiles and embroidery naturally stood out because they’re so accessible. All you need is thread and a needle to get started!
The second reason is that this technique feels very familiar to me. I learned it as a child, and it has become instinctive, almost natural, as a means of expression. Since I didn’t receive professional training in embroidery, I approached it in a self-taught and unconventional way. I used thicker thread and a larger needle, with the idea of turning embroidery into a tool similar to a paintbrush to draw lines as one would in painting.
Finally, I am a patient person, but only to a certain extent! Creating clean, minimalist lines is also a way to simplify the process and work faster while staying true to my aesthetic.
h: You describe your brand, Œuvres Sensibles, as creating ‘emotional resonance’ through textiles. How do you infuse emotions into something as tactile as fabric?
SE: Interior textiles are a true field of exploration precisely because they are often overlooked. In the past, textiles were made of precious and costly fabrics, symbols of wealth and craftsmanship. Today, with the rise of fast fashion and large-scale industries, they have become inexpensive, lower in quality, and largely devalued.
That’s where the challenge lies: bringing value back to this material by working with vintage textiles or locally sourced fabrics. Through embroidery and handcrafted work, I give these pieces an added soul and a sense of nostalgia. Embroidery often evokes universal memories – almost everyone has a grandmother or mother who used to do it. It takes us back to childhood moments filled with warmth and tenderness.
But with my creations, I don’t just evoke memories; I also create new ones. Through my trompe-l’œil designs, particularly my imaginary meals, my pieces tell convivial and heartwarming stories. These stories are easy for anyone to connect with and make their own.
My ambition is also to inspire a new way of consuming. By fostering an emotional connection to my creations, I hope people will choose to keep them for a long time, nourish them, and even pass them down rather than falling into the endless cycle of buying and discarding.
h: The trompe-l’œil embroidery in your designs plays with perception and reality. What drew you to this visual illusion, and what stories are you hoping to tell through it?
SE: What fascinates me about trompe-l’œil is its ability to create a poetic illusion – one that intrigues and brings a smile. I adore the concept of ‘positive’ design, something that plays with perception to provide a touch of happiness and escapism while inspiring dreams.
My goal is to tell beautiful stories – simple, accessible ones rooted in the moments of everyday life that we all share. I believe my empathetic nature and sense of nostalgia deeply influence my work. I like to put myself in others’ shoes to understand what they feel, and I take joy in revisiting happy memories. Naturally, these are the emotions I try to convey through my creations, as they speak to everyone and tap into the universality of human feelings.
h: Operating out of Marseille, how does the city influence your creative process? Is there something about the light, the history, or the culture of the South of France that we see reflected in your work?
SE: I’m a girl from the south; I grew up in Provence, so all these inspirations are naturally part of who I am. Therefore, Marseille didn’t directly inspire me, but the sun and the quality of life certainly did. It also provided the conditions I needed to create. Before moving here, I was in Paris, where I couldn’t afford a second rent for a workspace, and the apartment was too small for me to work in without going crazy. Moving to Marseille made this possible, as the cost of living here is much lower.
There’s also a unique artistic energy here, with many people coming to create beautiful projects. It’s very stimulating to feel like you’re in the right place at the right time, in an environment that encourages creativity and meeting other artists.
h: Embroidery is such a meticulous and time-consuming art. What does the process teach you about patience, perfection, or imperfection?
SE: With embroidery, you naturally become more and more of a perfectionist. It’s a repetitive gesture that, when refined over time, becomes deeply satisfying. This is precisely what makes the practice so meditative: the repetition allows your mind to wander, to roam freely through your thoughts.
Embroidery creates a pause in time, a suspended moment that invites mental relaxation. It forces you to refocus and be fully present in the moment. This long, patient process reconnects us with a more authentic sense of time.
In today’s world, with social media and the fast-paced rhythm of life, everything seems to move too quickly. We’re under the illusion that we can accomplish so much in so little time. But embroidery brings us back to the essentials. It reminds us that some things require time, effort, and presence to truly hold meaning and value.
h: Collaborations with brands like Christofle and Le Tanneur have brought your work to new audiences. What do you look for in a partnership, and how do you maintain your artistic integrity in these projects?
SE: I often receive collaboration proposals from brands, and it’s not always easy to maintain a clear direction. It’s about finding a balance between the financial aspect and staying true to your image. Knowing when to say no is essential, even if it can be challenging.
With Christofle and Le Tanneur, the collaboration made sense naturally because of their connection to French craftsmanship. These are historic French houses that have preserved excellence in their products, which aligns with my values and vision.
For me, a collaboration becomes truly interesting when it represents a creative challenge. If the idea is simply to apply what I already do to their brand – as is often the case – I find that uninspiring and dull. What excites me is the opportunity to explore new ideas and push the boundaries of my work. However, it’s not always easy to assert your creative vision in these kinds of projects, and that’s where the real challenge lies.
h: You use both traditional handmade and Cornely embroidery techniques. How do you decide which method suits a particular design, and what challenges or rewards come with working on a 19th-century machine?
SE: I discovered Cornely embroidery through a professional embroiderer friend who introduced me to an incredible woman named Fatoune Cornu. She has been practising this technique in the Paris suburbs for 43 years. We’ve been working together since the very beginning of my journey four years ago.
Cornely embroidery is a technique that requires a great deal of skill, particularly in dexterity. Fatoune guides the embroidery head by hand, which demands impressive precision. It’s also very much a mechanical craft, as everything relies on fine-tuning the machine, which you need to know inside and out to use effectively.
This technique offers endless possibilities in terms of stitches, textures, and thread thicknesses. For now, I use it to create a more minimalist embroidery style than handwork. It’s also much more durable when it comes to washing, which makes it perfect for everyday items like towels.
That said, I’d love to explore its creative potential further. There’s so much to imagine and experiment with using this technique, and it’s a project I’m excited to develop!
h: Your Instagram is a beautifully curated window into your creative universe. How do you approach storytelling in the digital age while staying true to the intimacy of your art?
SE: I try to manage my Instagram with the same sensitivity and authenticity that I put into creating my Œuvres Sensibles. My goal is for it to tell a story with a clear thread that gives meaning to what I share. Having a purely commercial account doesn’t interest me, although I acknowledge that it’s necessary at times, of course.
To navigate that, I make an effort to present my pieces in different contexts and settings so the account retains a sense of soul and intimacy. This helps maintain a more personal connection with those who follow me while offering a richer and more poetic view of my work.
Photography courtesy of SARAH ESPEUTE
