Sarah Espeute - The art of embroidering everyday poetry

A self-taught person at heart, could you tell us a few words about your background? 
S.E.: My background is not a traditional one. Between the ages of 6 and 10, I loved embroidering objects, but I am not a professional embroiderer. After an initial training in applied arts in Paris, specializing in visual communication and graphic design, I quite naturally developed a passion for illustration and design. My first field of expression was risography, a vintage printing technique. From there came my first projects and collaborations with illustrators and galleries, whom I supported in the design of books and posters. A little later on, I turned towards object design.

Why embroidered objects?
S.E.: Perhaps out of practicality at first, but above all because of the madeleine de Proust dimension of this technique, which I like to reinvent as a contemporary poem. We all have a memory connected to an embroidered object.
In my trompe-l’œil textile creations, the embroidered line, made with thick thread, is intended to be clean and instantly recognizable. The timeless compositions are conceived like paintings, where contemporary and older forms come together.

In your creations, color, when it appears, is always used sparingly. Is that a stylistic choice?
S.E.: My relationship with color is minimalist; I only use it in touches. I like it to slip discreetly into a setting, never in an exuberant way. It reflects my personality. The right balance has to be found, but the line always prevails. Besides black, which is my signature, I use indigo blue, terracotta, and green — natural shades that evoke earth and water — not forgetting beige. My collection for Monoprix was more colorful.

You speak of “paintings.” Is there an artist who inspires you?
S.E.: Yes, the Swiss artist Daniel Spoerri and his “snare-pictures.” I love the way he captures everyday moments in a way that is both realistic and poetic. A real source of inspiration for my tablecloths!
I’m also very fond of the world of the contemporary artist Maxime Pellet.

A few words about your creative process?
S.E.: At first, I used to draw and embroider each of my creations myself, then I chose to make it a more collective practice, without industrializing it. Every piece is handmade and tied to a gesture. Today, I design the models and entrust the embroidery to independent artisans. I currently collaborate with around thirty people. Each piece is made to order, some even custom-made.
The signature of our studio is the backstitch, synonymous with a clean textile line.

In recent years, you have collaborated with brands such as Christofle, Le Tanneur, La Bonne Brosse, and most recently Monoprix. Soon, Maison&Objet as well. What do you enjoy about this exercise?
S.E.: Creating new narratives, bringing two worlds together. For Maison&Objet in September, I’m imagining an 8-meter by 1-meter table that I will dress with unique pieces created exclusively for the fair. The centerpiece will be a bespoke creation. It’s a particularly exciting project, at the heart of a wonderland.

One could say that you draw and embroider poems. Is there a moment in your daily life that you compose like a poem?
S.E.: Every morning, I begin my day by composing the breakfast table: placemats, tableware, ingredients… every detail matters.

See you at Maison&Objet, from September 10 to 14, around an XXL table set, in true artistic fashion for the occasion. A discreet luxury.