At first glance, the range of this collection can be perplexing for the diversity of the materials alone. But the clear link between each piece lies in the process rather than the product; in use of materials and the attention to detail. Nathalie Hambro’s work leads to another place, one which is at once alien and instinctively familiar, Allusions to the ancient Japanese Noh theatre are filtered through industrial aesthetic to sublime effect…the design doesn’t diminish the source of inspiration but instead transfigures it, making it legible through a contemporary lens.’

‘Nathalie Hambro does not design through drawings which are the passed on to a manufacturer to be interpreted, instead, she works through each stage of the production by hand, often taking the materials themselves as a starting point and allowing them to some extend to dictate the design. This is immediately tangible in the sensuousness of the pieces where seemingly incompatible textures are invigorated by their proximity to each other. She aims, as she puts it, ‘glorify humble materials’ and, by combining them with the precious through meticulous craftsmanship, she raises the mundane to the level of haute couture’

‘ To combine an aesthetic wit with utilitarian principles is a delicate exercise which Hambro handles with skill.’

(text extract from Charlotte Skene-Catling’s introduction to the Art of the Handbag, a contemporary collection, 1998)   

Goldsmiths’ Company
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