在針尖與織物裡，繪製一場日常的幻象：專訪 Œuvres Sensibles 織物藝術家 Sarah Espeute

 

Sarah Espeute ( © Maxime Verret ) 

 
 

在馬賽工作室的微光下，古董織物靜靜鋪展，這些曾承載著無數家族記憶的布料，透過她的指尖，經歷了一場優雅的感知重塑。作為品牌 Œuvres Sensibles 的靈魂人物，Sarah Espeute擅長將平凡的日常，轉譯為動人的生活劇場。在 Sarah 的手中，這些日常物件跳脫了純粹的功能框架，透過錯視藝術（trompe-l'œil）與使用者的直覺產生連結，在實用與幻象之間，勾勒出一種極具張力的感官對話。

透過這次與 Sarah 的對談，我們走進了她建構的「公寓著裝（The Apartment Gets Dressed）」計畫。看她如何細膩地將服裝的語彙織入窗簾與床寢的經緯之間，並在每一次針線的起落中，重新定義我們對「家」的感官想像。

 
 

  • In the soft half-light of her Marseille studio, antique textiles rest quietly. These fabrics, laden with family histories, undergo an elegant sensory reshaping beneath her fingertips. As the soul of Œuvres Sensibles, Sarah Espeute masters the art of translating the mundane into a stirring theater of life. In her hands, everyday objects transcend their functional frameworks; through trompe-l'œil, she engages the user’s intuition, sketching a compelling sensory dialogue poised between utility and illusion.

    In this conversation, we step into her project, "The Apartment Gets Dressed." We explore how she delicately weaves the vocabulary of fashion into the warp and weft of curtains and bedding, redefining our sensory perception of "home" with every rise and fall of the needle.

 
 

© Maxime Verret

 
 

讓公寓穿上衣裳：在居家經緯間，編織服裝的倒影


對 Sarah 而言，創作的起點始終紮根於功能性。她深信意義必須源於物件本身，才能在簡潔的美學語境中，創造出一種既現代又帶著微妙新鮮感的視角轉換。

在「The Apartment Gets Dressed」系列中，Sarah 挑戰傳統家飾用品的邊界，將襯衫、長褲等鮮明的服飾特徵融入窗簾設計中，不但保留了服裝輪廓，更在維持窗簾過慮光線功能的同時，展現出令人驚喜的藝術形態。

 
 

  • Weaving Sartorial Silhouettes into the Home

    For Sarah, the creative process is always rooted in functionality. She believes meaning must originate from the object itself to achieve a modern, subtly fresh perspective shift within a minimalist aesthetic.

    In her "The Apartment Gets Dressed" series, Sarah challenges the boundaries of traditional soft furnishings by integrating distinct sartorial features, such as shirts and trousers, into her curtain designs. These pieces retain the silhouette of the garments and preserve the curtain's light-filtering function while presenting a surprising artistic form.

 
 

© Œuvres Sensibles

 
 

這種重新想像也延伸到了餐桌之上。她將刺繡視為「在空間中繪畫」，為日常桌巾注入溫暖的人情味與社交活力。

Sarah 對於材質與時間的尊重，是設計的主要核心。透過挑選高品質且具備歷史感的古董亞麻與棉料，體現獨特質感。對她來說，日常使用的污漬與磨損並非缺陷，而是時間賦予物件的自然痕跡，是生活最真實且美麗的證明。她期待作品能隨著使用產生歲月的光澤（patina），成為可以傳承下去且歷久彌新的物件。

 
 

  • This reimagining extends to the dining table where she views embroidery as "drawing in space." Her work infuses everyday tablecloths with human warmth and social vitality.

    A profound respect for materials and time lies at the core of Sarah’s design philosophy. She selects high-quality antique linens and cottons rich in history to embody a unique texture. To her, the stains and wear of daily use are not defects but natural imprints of time that serve as authentic proofs of life. She envisions her pieces developing a rich patina through use to become enduring heirlooms passed down through generations.

 
 

© Maxime Verret

© Maxime Verret

© Œuvres Sensibles

© Maxime Verret

 
 

在纖維與歲月之間，探尋家的感官記憶



HC：從窗簾、桌巾到床寢，妳將服裝細節引入居家空間。對你而言，這些物件共享著同一套設計語彙，還是各別需要不同的思考邏輯？

Sarah： 每個計畫都在講述不同的故事，但它們都根植於同一種「錯視（trompe-l'œil）」與幻想的遊戲，這為我的想法注入了詩意的維度。我非常享受在日常物件與藝術品、二維與三維、或是衣著與室內設計之間創造交集。

 
 

  • Tracing the Sensory Memory of Home

    Q: From curtains and tablecloths to bedding, you introduce garment details into the domestic sphere. Do these objects share a common design vocabulary, or does each demand a distinct conceptual logic?

    Sarah:
    Every project tells a different story, yet all are rooted in the same interplay of trompe-l'œil and illusion. This imbues my ideas with a poetic dimension. I deeply enjoy forging intersections between everyday objects and art, the two-dimensional and the three-dimensional, or between clothing and interior design.

 
 

© Maxime Verret

 
 

HC：當妳開發一件新作品時，通常是從「功能性」出發，還是先有「視覺意象」？

Sarah： 我偏好實用的物件，那是我的創作起點，我從中透過不同的視角來建立架構。對我而言，意義必須由物件本身萌發，如此產生的轉變才顯得切題、現代且細膩。一旦確立了核心意義，我便會賦予它屬於我的美學語彙——一種在低調優雅中，揉合懷舊與詩意的語言。我不喜歡過度的裝飾。

 
 

  • Q: When developing a new piece, do you typically begin with functionality, or is the process driven by a visual concept?

    Sarah:
    I favor utilitarian objects as they serve as my creative starting point. From there, I construct a framework through a shifted perspective. For me, meaning must emerge from the object itself so the resulting transformation feels pertinent, modern, and subtle. Once the core meaning is established, I apply my aesthetic vocabulary. It is a language that blends nostalgia and poetry within a sense of understated elegance. I dislike excessive ornamentation.

 
 

© Maxime Verret

© Œuvres Sensibles

 
 

HC：在「Clothing-Curtains」系列中，服裝輪廓非常鮮明。對妳而言，設計是在哪一個瞬間，從「服裝」轉化為「窗簾」？

Sarah： 這些作品的初衷就是讓兩者並存：它既是窗簾，也是衣裳。它們並非只是放大的衣服，為了忠於窗簾的本質，我只保留了服裝的部分細節。我喜歡讓作品在採用這種不尋常形式的同時，依然保有窗簾的功能性。

 
 

  • Q: In the "Clothing-Curtains" series, the garment silhouettes are distinct. At what specific moment does the design transition from clothing to curtain for you?

    Sarah:
    The original intent was for the two to coexist as both curtain and garment. They are not merely enlarged clothes. To remain faithful to the essence of a curtain, I retained only specific sartorial details. I enjoy how the pieces adopt this unusual form while fully maintaining their functionality as curtains.

 
 

© Maxime Verret

 
 

HC：窗簾與光影、律動息息相關，妳如何確保作品在全天不同的光線下，都能保有理想的視覺效果？

Sarah： 我不喜歡會完全遮蔽光線的厚重窗簾。我偏好輕盈、帶著半透明質地的材料，所以對我來說，就算窗簾沒有遮滿整面窗戶也沒關係。我們花了很多時間測試織品的透明度，透過圖案與層次的堆疊，創造出細微的色調變化，讓它們在白天與黑夜都能展現出不同的表情。

基本上我所有的作品都適合從一定距離觀看，因為我喜歡將它們視為一個整體。例如錯視桌巾的構思就像一幅畫，是可以從遠處欣賞的作品。至於窗簾，我專注於整體的輪廓與大尺度感，但同時也會深入到細節，像是使用真實的襯衫鈕扣。

 
 

  • Q: Curtains are intrinsically linked to light and rhythm. How do you ensure the pieces maintain their ideal visual impact across changing light conditions throughout the day?

    Sarah:
    I dislike heavy curtains that completely block out light. I prefer materials that are light and translucent. To me, it is acceptable even if the curtain does not cover the entire window. We spend considerable time testing fabric transparency. Through the layering of patterns, we create subtle tonal shifts that allow the pieces to reveal different expressions between day and night.

    Fundamentally, all my works are designed to be viewed from a distance as I prefer to perceive them as a unified whole. For instance, the trompe-l'œil tablecloths are conceived like paintings to be appreciated from afar. With the curtains, I focus on the overall silhouette and sense of scale while simultaneously attending to details such as the use of real shirt buttons.

 
 

© Maxime Verret

 
 

© Maxime Verret

 
 

HC：妳的桌巾大多以刺繡方式呈現。對妳而言，刺繡在設計中扮演什麼角色？

Sarah： 刺繡對我來說，是一種在空間中繪畫的方式。我不只將它運用在餐桌上，也用於其他類別的作品。桌巾通常被認為價值感較低的物件，增添刺繡能為餐桌帶來一種親近且具人性溫度的特質，增添一份歡愉與情感的連結。

 
 

HC：用餐時光難免伴隨著髒汙。在設計桌巾與餐巾時，如何平衡清潔與長期使用的需求？

Sarah： 我的作品可以輕鬆地放入洗衣機，使用細緻溫和模式和慢速脫水清洗。我選用的布料品質極佳，能確保耐用度。我喜歡讓作品真正參與生活，也認為不經易留下地污漬能讓它們變得更美。當我使用古董布料時，上面往往帶有過去留下的痕跡，我也視它為時間流逝的象徵；這並非追求完美與否，而是我們並不畏懼那些「不完美」的存在。

 
 

  • Q: Your tablecloths feature extensive embroidery. What role does this technique play in your design narrative?

    Sarah:
    Embroidery is a way of painting in space. I apply it not only to table linens but across other categories of my work. Tablecloths are often perceived as humble objects. Adding embroidery imbues the table with an intimate and human quality to foster conviviality and emotional connection.

    Q: Dining inevitably brings spills. How do you reconcile the need for maintenance with longevity in your table and napkin designs?

    Sarah:
    My pieces are machine washable on a delicate cycle with a low spin speed. I select fabrics of exceptional quality to ensure durability. I want my work to be fully integrated into daily life and believe that accidental stains can actually enhance its beauty. When I use antique fabrics that often bear marks from the past, I view them as symbols of the passage of time. It is not about pursuing perfection but rather embracing the existence of imperfection.

 
 

© Maxime Verret

© Œuvres Sensibles

 
 

© Œuvres Sensibles

 
 

HC：床寢是家中與身體最親密的織物。這份「親密感」是否改變了妳對處理布料的方式？

Mona： 針對床組，我喜歡使用紮實的亞麻布以及古董織品。我重複利用許多舊的亞麻與棉質床單，且非常熱愛睡在其中的觸感。我甚至為自己做了一床古董亞麻被子，睡得非常好！

在桌巾方面，我也使用相同的材質，但在棉與麻料纖維上會選擇稍重一點的磅數。至於餐巾，我傾向使用與床寢非常相似的亞麻，因為它們的使用感同樣是非常貼近肌膚的。

 
 

  • Q: Bedding represents the most intimate textile within the home. Does this sense of intimacy influence how you approach the material?

    Sarah:
    For bedding, I favor substantial linens and antique textiles. I repurpose many vintage linen and cotton sheets and deeply cherish the tactile sensation of sleeping in them. I even crafted an antique linen duvet for myself and I sleep wonderfully.

    For tablecloths, I utilize the same materials but opt for a slightly heavier weight in the cotton and linen fibers. As for napkins, I prefer using linen that is very similar to bedding since the tactile experience is equally close to the skin.

 
 

© Maxime Verret

© Jade Deshayes

 
 

HC：隨著歲月累積，床寢難免會留下使用痕跡。妳如何看待這種「舊感」對於一件成功作品的重要性？

Sarah： 市面上量產床寢常為了提高生產效率而織得太薄，這反而讓布料變得脆弱，容易產生破損或裂痕。我喜歡作品隨著時間產生漂亮痕跡（patina）的想法，但我並不希望它們太快耗損；我希望它們是耐用，甚至能被長久傳承下去。

 
 

  • Q: Over time, bedding inevitably accumulates signs of use. How do you view the importance of this "aged quality" in a successful piece?

    Sarah:
    Mass-produced bedding is often woven too thinly for the sake of efficiency which renders the fabric fragile and prone to tearing. While I love the idea of a piece developing a beautiful patina over time, I do not want it to deteriorate prematurely. I intend for my work to be durable and capable of being passed down.

 
 

© Maxime Verret

 
 

在 Œuvres Sensibles 的織物世界裡，美並非來自於無瑕的精確，而是源於對生活的真實接納。從那些穿著襯衫輪廓的窗簾，到宛如畫作的桌巾與寢具，每一件作品都在記錄平凡而珍貴的日常。這份關於「敏感」與「日常」的堅持，讓Œuvres Sensibles 的設計散發出一種不隨波逐流的優雅。

當我們不再執著於抹除歲月的痕跡，家也將隨之展現出最溫潤且具生命力的樣貌。

 
 

  • In the textile realm of Œuvres Sensibles, beauty stems not from immaculate precision but from an authentic embrace of life. From curtains donning shirt silhouettes to painterly table linens and bedding, each piece chronicles the ordinary yet precious moments of the everyday. This dedication to "sensibility" and daily life imbues the designs with an elegance that remains indifferent to fleeting trends.

    When we cease striving to erase the marks of time, the home reveals its warmest and most vital character.

 
 

© Œuvres Sensibles

© Œuvres Sensibles

© Maxime Verret

 
 
 

更多關於 Œuvres Sensibles, Sarah Espeute
Web / IG

 
 

Interview、Text/ Lin

 
SPEAKOUTLinVoice, art