One last piece of current season love we haven't dished out from our Island Life photo shoot is that slim, neon clutch. In the photo the clutch, by designer Andrea Brueckner, looks bright yellow, but that 'ol Holga Robert Malmberg uses, knows how to keep a few secrets. In truth the clutch is more of the acid green variety and the leather is super soft and buttery. We have to say, the handbag is really well-made, and though we aren't really clutch toting chicsters, we kind of fell for this one. Brueckner, the Canadian beauty who (as far as we can tell) models in all of her own look books, learned her craft from her years working closely with bespoke tailor, Craig Robinson. Brueckner's bags are said to reflect that experience and we have to say, judging by the clutch we received, we can tell she knows a thing or two about making quality products. Below, some of her current season bags from JCMadison.
We talked to a few buyers and showroom reps about our noticing that acid green has cropped up in more than one place for Spring 08. A color like this, admittedly, doesn't lend itself to an all-out craze. The fact is, acid green is appearing as much as it ever will, on everything from accessories to frocks. It's a good time for the fad, if you look at the rest of what's appearing on the palate for Spring 08. Nudes especially are an appropriate compliment to acid green, and there are few colors you can say that about. A really nice representation of this color trend, which may convince you that it's not so bad after all, is Jenny Yuen's handbag range for Spring 08. It's something we need to take in doses, and that's perfectly fine for fashion.
Pop colors are abundant these days. We all know that. You start with the neutrals and then pick a few complimentary brights to serve as lining, piping, and the like. The Behnaz Sarafpour A/W 08 collection was the perfect example. Deep plums and acid green's jumped off garments while the blacks served to classify the bright color. Two amazing flapper-like dresses turned up solid, showing off Sarafpour's knowledge of texture (the dresses moved like sea anemones) and confidence in the two hues that only appear in glimpses elsewhere.