We sometimes get asked what is our most niche publication, and To Have and to Hold must be a strong contender for that title: each issue presents a themed collection of retail paper bags.

Zine founder Tim Sumner began designing books and magazine in New Zealand before returning to the UK, setting up his own design practice, and launching To Have and to Hold. He has also just launched his own publishing imprint, Collect.

What are you doing this Monday morning?
Before anything. Coffee. Then drop my son off at my mums, then head to the studio for the day. I work from Hazlehurst Studios, in my local town—which is shared with 17 other artists. After working in the spare room throughout COVID it makes a nice change and we also have that room back (to my partners joy!) as it’s no longer full of ephemera.

Describe your work environment—what can you see from your desk/ through the window?
From my desk I can see my child’s inheritance, a.k.a the book shelf.

As a designer and publisher, I am constantly collecting books and magazines, sometimes just as reference for the size or the way its bound or that the cover is slightly different—you can’t get that sort of reference from the internet. You have to hold the book in your hand.

I can also see the huge amounts of paper bags that sit on the racking (self proclaimed owner of the largest collection on earth) in the studio, along with everything else that I collect. I tend to collect things to build books/magazines around them, it seems to be the best way for me to work, I will have the idea and then come up how that best fits into the printed format.

The view from the window could be better, maybe golden sands and some sunshine.

Which magazine do you first remember?
It’s got to be the Christmas edition of the What’s On, a bumper edition of everything you needed over the Christmas period. Get the pen out and circle everything you wanted to watch. Long before digital television and on-demand services.

Aside from yours, what’s your favourite magazine?
Paperboy. A breath of fresh air during a not-so positive time (the pandemic) when it launched; delivering good news only, what’s not to like. Great design and great art direction—also, big up to David for featuring the archive in one of the issues—there is a new issue out soon which is even better news!

Describe To Have and to Hold in three words
Very, very niche.


How do you source the collections of paper bags you showcase in the magazine?
The bags are sourced directly from the archive, its now over 2500 bags and counting… people do get in touch and send over their collections that they no longer want, which is very kind, I tend to then add them to the mailing list of the next issue and they get a free copy every time one is published which I think is a nice surprise for them to receive in the post, it sort of goes full circle in a way.

I am looking to have a small exhibition in my studio gallery early next year, and from that it would be great to exhibit it in a larger space, The V&A, the Design Museum or London Design Festival and the like would be the end goal and there’s enough bags to go around!

Watch this space I guess. (contact hello@paperbagarchive.com with your offers!)

All vintage printed ephemera offers a sense of raw nostalgia; what’s special about paper bags?
Paper bags are a great reflection of a time gone by, they track social histories like royal jubilees, coronations and weddings or your own personal history like your first visit to the V&A, your first job, or perhaps the first record your purchased?

People see the bags, either in print or online and are instantly reminded of where or when they interacted with that shop, supermarket or department store etc… it is a real throw back.

They are designed to last that one day, so I think people enjoy seeing them all these years on.

Alongside the bags you select for publication, is there a mass of unspectacular examples not worthy of sharing?
Yes, it is a hard process of selection, also the toss up against aesthetics and variety. I have 8-10 Selfridges bags from the past century, all different but I am not sure readers want to see the same store page after page, maybe I will save that for the newsletter. Also, it really helps to work to the same page count every issue as it makes culling certain bags much easier.

Although, next issue we’re working on will be issue five, Food & Drink, this could be a bumper edition as there is so many choices available, perhaps adding in another 20 pages.

Highlight one bag from the issue that sums up the magazine and the concept underlying it.
It is hard to highlight one bag, but the Selfridges set in Cooper Black is a good stand out for this issue (above)!

To Have & To Hold features one essay per issue, in the latest issue on Department Stores, we commissioned the amazing Annebella Pollen to write a piece reflecting on her own experience of department stores, and especially the nostalgia that comes from Dingle’s in Plymouth.

With every issue we try to pair the subject matter with a writer that will reflect on their own experiences to create something interesting and enjoyable to read. This is my first time in publishing so commissioning writers is a huge learning curve for me.

What advice do you have for anyone planning to launch a magazine?
Just go for it. It doesn’t have to be all bells and whistles with foil-blocking or tip-ins and have three additional Pantone colours.

Keep it simple if needs be, print on newspaper to use staples to bind it or rubber bands - you can make it lo-fi and cost-effective or bind it in an interesting way and if you’re passionate enough about it the magazine will find its audience.

I started a magazine on paper bags, so if I can do it anybody can!

What are you most looking forward to this coming week?
I am currently working on the launch of our new publishing venture COLLECT, so hopefully having our first publication finished and off to the printers.

Portrait of Tim by Nicolas Carillo