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An animation in which the pages of a deckle-edged book flip through a series of images and text. It begins with the French phrase “À demain de bonne heure”, then moves through landscapes, blue-toned abstract figures, and photographs of people harvesting wheat.

Ecofeminism and ecology are Sarah Salomé Delétain’s calls to publishing

The French graphic designer’s eco-conscious editorial work revolves around local and rural practices, advocating for environmental initiatives and taking care of nature.

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Date
3 September 2024

“My countryside origins have been really important in my development as a human being and as a graphic designer”, Sarah Salomé Delétain tells us. Originally from Burgundy, now based in Toulouse, the designer creates books and printed ephemera in order to highlight ecological, local and rural issues. She explains: “At the heart of my work is my activism for ecology, ecofeminism and peasant culture” — all subjects her recent editorial endeavours have delved into, off the back of her diploma research at École supérieure d'art et design Le Havre-Rouen.

When speaking to the methods she uses to craft her printed work she says: “Even though I often use conventional printing techniques, it matters for me to think about sustainable choices, using recycled paper and local printing as much as possible. This gives meaning to the shapes and choices of the graphic elements in a project.” With this sensitivity towards sustainability in print, Sarah’s tactile oeuvre fosters a handmade look and feel, connecting books back to the land and emphasising their physicality with “human gestures” and interactivity considered in their design. To achieve her layered editorial outcomes, Sarah makes use of a range of techniques from drawing, sewing and screen printing, to making her own paper and pigments from natural materials she has collected.

The graphic designer is finding the inspiration for her handmade projects outside of design, in the world of environmental uprisings and activist collectives such as Les Soulèvements de la Terre. She’s also taking influence from artists such as Vincent Perrottet who are practising from the small rural villages they call home. Sarah concludes: “I want to use my voice as a designer to share information for thriving initiatives that intend to redefine our model of living together and taking care of nature.”

A brown card booklet rests on a white cloth over a tiled surface. A black, textured block of text at the bottom reads “TENIR TERRE”.
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Sarah Salomé Delétain: Tenir Terre (Copyright © Sarah Salomé Delétain, 2024)

An animation in which a book is flipped through, starting with a cover that reads “TENIR TERRE”. The pages show a mix of French text, photographs of rural stone buildings, and brightly coloured posters for local festivals.
Above

Sarah Salomé Delétain: Tenir Terre (Copyright © Sarah Salomé Delétain, 2024)

Two hands hold an open book with a bright pink card laid over the right-hand page. The card features a detailed illustration of a plant and the text “Gesarol” and “CONTRE LES ENNEMIS DES CULTURES”.
Above

Sarah Salomé Delétain: Démembrement Paysan (Copyright © Sarah Salomé Delétain, 2024)

An open book rests on a wooden surface, with a hand holding the left page. The right page features a block of French text above a circular arrangement of words.
Above

Sarah Salomé Delétain: Démembrement Paysan (Copyright © Sarah Salomé Delétain, 2024)

Two hands hold a white poster with a large, dark red speech bubble. Inside, bold white text reads “conservez les talus, arasez les technocrates!”. Smaller red text below reads “des paysans en colere” above a silhouette of a crowd.
Above

Sarah Salomé Delétain: Démembrement Paysan (Copyright © Sarah Salomé Delétain, 2024)

A collage in an open sketchbook. On the left, a green glass bottle is surrounded by small, textured brown fragments and a scrap of paper with French text. On the right, a black and white photograph shows a classical marble sculpture of a nude figure.
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Sarah Salomé Delétain: La théorie de la Fiction-Panier (Copyright © Sarah Salomé Delétain, 2022)

An invitation for an exhibition by Clémentine Taupin, featuring a black and white illustration of a cow. The text reads “Clémentine Taupin vous invite au vernissage de sa première exposition personnelle!” and lists the date as “LE 6 AVRIL 2024”. Below the invitation are several bright green tickets. They feature the exhibition title “LES MOUCHES QUI COLLENT, LES YEUX QUI CLIGNENT” and the venue “Agent Troublant, Marseille”.
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Sarah Salomé Delétain: Poster for Les mouches qui collent, les yeux qui clignent (Copyright © Sarah Salomé Delétain, 2024)

An open photobook rests on a small white table. One page shows a close-up of a hand, while the opposite page features a black and white photograph of a person sitting outdoors.
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Sarah Salomé Delétain: À demain de bonne heure (Copyright © Sarah Salomé Delétain, 2023)

A light blue book rests on two weathered wooden planks amidst long grass and yellow wildflowers. A white label on the cover features a line drawing of figures and the text “Le Remembrement” and “Démembrement Paysan”, alongside the dates “1950” and “1980”.
Above

Sarah Salomé Delétain: Démembrement Paysan (Copyright © Sarah Salomé Delétain, 2024)

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Sarah Salomé Delétain: À demain de bonne heure (Copyright © Sarah Salomé Delétain, 2023)

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About the Author

Ellis Tree

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Ellis Tree (she/her) is a staff writer at It’s Nice That. She joined as a junior writer in April 2024 after graduating from Kingston School of Art with a degree in Graphic Design. Across her research, writing and visual work she has a particular interest in printmaking, self-publishing and expanded approaches to photography. ert@itsnicethat.com

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