A Contemporary Collection


“Nathalie Hambro’s designs are unique: neither a reflection of passing fashion nor, a product of theories in vogue, they are the result of an entirely independent pursuit of the eclectic. She has taken the old criteria for measuring worth – beauty of form, perfection of workmanship and value of material – and enrich them with her very precise sense of irony. Handbags now generally fall into one of three categories: the Practical, the Status Symbol and the Artwork. Nathalie Hambro produces artworks, but not at the expense of utility, and it is this dialogue between use and its expression which forms the narrative for these pieces As more and mored designers work with the cynical insight of the late 20th Century – through deconstruction and making the hidden process of  creativity visible to an increasingly jaded public. – Nathalie Hambro has rethought the language of her medium by including the boundaries of a technical intelligence. All good design, and particularly fashion with its obvious relation to the body becomes a fetishistic process; one of imbuing inanimate materials with a magical or spiritual quality. The covert pleasure of sliding a hand into a hidden interior has obvious potential for an urban fetishist, and Nathalie Hambro has unquestionably metered the art of making the product greater than the sum of its parts”

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

“This book is Nathalie Hambro’s curiously unsentimental pursuit of sensuality, with her Proustian allusions to art, time, memories and society, which elevates this collection beyond design: this is the Art of the Handbag.”
"I hand-craft my bags first and foremost for myself, to satisfy a deep sense of work ethic"

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