The Portrait Sitting - Fabric Clutch

Carry a beautiful piece of history with you. This limited edition cotton-linen clutch features a 19th-century botanical artwork on one side and a vignette of the life of a florist's daughter on the other. Lined with linen and finished with an antique brass zip, this clutch is both romantic and functional. Perfect for adding a touch of Victorian-inspired elegance to your outfit. Matching boxy top sold separately.

22cm x 30cm.

Designed and made by Meg in The Patch, Australia. Printed in Thornbury by NextState Print on 94% cotton, 6% linen certified to OEKO-TEX Standard 100 (11-29208). Linen is woven with yarn grown in Normandy, France (grown and harvested with Reel Linen), milled in China, and meets certification for European Flax yarn, Oeko-Tex 100 Standard, Fair Labor Association, Higg Index, UN Global Compact, and ZDHC.

All megsmithmakes garments are Ethical Clothing Australia accredited and made in Melbourne with natural fabrics and GOTS organic cotton thread. megsmithmakes is a proud member of Seamless Australia.

Meg Smith makes unconventional, slow fashion heirlooms that are designed to last generations, gather memories, and be cherished across time.

Matching low-waste boxy top is sold separately.

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"...two days had passed since the portrait had arrived, and she was still distracted by its direct gaze, She knew of the girl whose likeness it captured, but only through the quiet words of ladies who browsed the shop to idly admire the latest blooms. The girl had, it seems, captured the attention of a young and earnest artist from The Hague. A daughter of one of the local bakers, her situation was ordinary but her beauty was not. The portrait was a simple, somewhat rough watercolour, lit strongly from one side with contrast told in confident shapes that flowed across loose and urgent pencil marks. Her smooth and rounded features were captured as much by the absence of colour as by the shadows that defined them. She was facing away from the light, but her eyes were at the centre of the composition, looking expectantly back towards the artist and highlighted by two single shapes of emerald green and long undulating strokes of chestnut brown. The portrait had been delivered with instructions for my father, who was tasked with creating an arrangement for her hair whilst she posed in the gardens of the artists’ summer estate. Today the portrait sat, awaiting collection, beside two posies of pure white azalea and baby pink angelonia, held together by snaking tendrils of greenery…"

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