Aritzia, a new retail boutique for young women, is opening its first Manhattan location in SoHo Summer 2011.

Aritzia has developed a large-scale Collage to mask the construction of the 10,000 square foot Aritzia Flagship location at the corner of Broadway and Spring. The Collage was created by New York based artist Monika Wyndham. Wyndham was inspired by the supernatural powers of nature and the beauty of the Northwest Coast.

Wyndham combined images of natural beauty with those inspired by Aritzia’s feminine aesthetic to create a fantastical landscape that challenges the viewer’s sense of reality and vantage point.

“The environment we’ve created can be seen as a reflection of the Aritzia girl’s character. She’s confident, adventurous and independent. She is unafraid of risks without being reckless and, in the midst of chaos, she’s collected and beautiful. She personifies grace under fire.” – Artist Monika Wyndham

In addition, Wyndham is collaborating with Aritzia to curate the collection of art on display within the Aritzia SoHo location.

H.E. by Mango taps star athlete Gerard Piqué for two consecutive campaign seasons.

The Spanish footballer was chosen after his successful win at the 2010 World Cup. Looking to capture a carefree attitude with a touch of personal style, the label showcases Piqué in dapper ensembles put together with a special charm.

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‘Masquerade’ is the theme for Vogue Paris 90th Anniversary celebration and the spread ‘Bal Masqué’ in the October issue is an ideal inspiration for guests who turned up for the magazine’s celebration night in Paris on Thursday.

Models Karmen Pedaru, Dree Hemingway, Anja Rubik, Shannan Click and Frida Gustavsson each showed off the right make-up, dressing and accessories to go with the theme, photography by Josh Olins and Sharif Hamza and styling by Mélanie Huynh, Géraldine Saglio.

There’s no doubt Stefano Pilati saw the Saint Laurent moment coming the minute the doors to the retrospective opened in March. No matter the lag time, it couldn’t have been easy working behind the door initialed YSL at the height of a tribute season, and scheduled to show at the tail end of it, no less. Pilati’s spring collection could have withered under the weight of obligation, had he not shrewdly checked his Saint Laurent homages — they were many — against a spare point of view, in accordance with the season’s other major motif. It was a stellar combination.

The jumpsuits, the gypsy dresses, the classic suits were all there and, right along with them, the chic bourgeois image on which Saint Laurent made his name. But Pilati worked each reverential nod discreetly with trim, polished lines that veered toward minimal. Jumpsuits cut a slim, long line, with plunging V-necks, cutout shoulders and open backs that injected the look with strong sensuality.

Lantern-sleeve blouses were worn with A-line skirts; white suits were clean and graphic with shiny black trim and a patch pocket positioned at the top of a skirt’s slit. Softness came by way of peasant dresses in printed silks and thick cotton, cinched at the waist with contrast ruffles across the neck and hemline. It was styled to perfection with red lips, bleached brows and hair slicked into braided updos that showed off bows tied at the neck.

The details were impeccable, but Pilati’s biggest feat was making heritage look modern.

Dutch duo Viktor And Rolf (Designers Viktor Horsting and Rolf Snoeren) has been producing avant garde and highly conceptual collections (sometimes pushing fashion tolerance) since 1993. Their sense of quirk and surprise in their work can be easily identifiable even thru their ‘out of this world’ upside down flagship store decor in Milan. That speaks volumes of the designers’ aesthetics and couture like sensibility.

Having done menswear for many years, the menswear line has recently expanded into mens footwear. I guess in part due to Renzo Rosso —owner of Diesel, chairman of Only the Brave (OTB)— taking a controlling stake in their company. Viktor & Rolf stated that this deal is meant to allow their company to put out a wider range of products and to open more stores. I was having high expectations for a freshly start up shoe line from the brand since their forte is in ready to wear. But from these new lookbook pictures, I can say, my interest has been sparked…

These new Fall Winter 2010 arrivals for guys embody the same quirk and surprise seen in their RTW pieces. I find the puffy and quilted trainers something of an attention grabber. It’s bloated and huge… a show piece in its own right, although I wonder how it will look on a real person. But in the name of fashion, I have confidence some fashion forward fanatic will be grabbing a pair nonetheless. Another outstanding piece is the iridescent/pearlised metallic trainers which achieved a unique colour and texture for mens shoes design. They look like moon boots to be tread out in space.

As for formal footwear… the duo’s designs shines like a beacon. There are many beautiful pieces to tempt. I love the black crushed velvet ankle boots or the emerald velvet lace-ups. It’s perfect luxe for the cold season with a dash of debonair. Besides velvet fabric, there are also bi-material options with leather and felt or leather and wool. If you want more detailing, those designs lined with metal round studs are gorgeous and in tune with the Napoleonic military trend happening this fall.

Besides shoes, belts are also offered in the collection. They come in many formats, of course with the metallic iridescent version being my favourite. I also adore the use of the brand’s logo in a wax seal as belt buckle. Something classic with an elegant touch, masking the brashness of using logo branding.

It’s a pity Club 21 no longer stocks the brand. Things have taken a better turn in terms of wearability for Viktor and Rolf’s menswear the past 2 seasons.

And now we decide to present you the best look by the fall collection of the brand. the most that we like is the shapes of silouets.

We like the fabrics and collaboration between leather, cashmere and gold. We really think that this collection is one of the best collection by a few seasons ago. We like the Mexican shapes, the 80th Beverly Hills inspired look and the style. We see a lot of style.

So, we think that the collection is all ready in store. So go and buy the best neckles for new season.

For SS11 the ADZ collection ‘Nebulayan’ debuts with a stunning collection of striking, unique prints. The prints have been created from illustrations from matellite thermal imaging of the Arctic and the Himalayas, placed on a background of photographs of deep space nebulae taken through the Hubble telescope.

The range is focussed around youthfully elegant, sexy and bold contemporary resort and daywear pieces in dramatic silhouettes, graphically contoured and exciting colour ways including fiery reds and leafy greens. The shapes are fluid and feminine with sustainable silk and tencel jersey draped into flattering dresses, with cowl necks and hoods. There are flippy city-shorts and fluttery tank-tops in chiffon. There are also body-conscious cycling shorts, cropped and extra-long leggings with a strong classic American sportswear influence.

The image shows a key piece from the collection – a beautiful jumpsuit engineered from fine black chiffon and a digital-print panel.

Retail price points range from £40 – £400

After Pure, the ADZ collection will be available to view by buyers at the London A La Mode from 4th August to 16th September at the Maverick Showroom, Redchurch Street, London – for further details please contact info@londonalamode.net

Prada disputed the reports, saying that the family still owns about 95% of the company, while the remaining 5% by italian bank banca intesa San Paolo. Interestingly, prada then announced a day later, that they agreed terms for a new €360m loan from a consortium of banks, in part to service an old loan while also to finance new store openings.

For most years, prada has been profitable. with collections that are loved by critics and consumers (not an easy feat to achieve acclaimed reviews and commercial success), it is not entirely a huge surprise. For the first quarter of 2010, prada reported sales of €366m, a 26% increase as compared to the same period in 2009. Earnings were up 480% from €11m to €60m. despite the stellar results in recent years, prada’s finances have always been a huge woe. In particular the huge debt that they are carrying. back in january, the debt stood at about €1.3 billion.

An astonishing amount of debt, for what is largely a privately owned company.

Eversince the financial bloodbaths of the investment banks, regulators and investors are not just interested about the sales and profits made (profit and loss statements), but also the resources used to achieve the sales (balance sheets). As prada is a privately owned company, financial data are not widely available. But it was suggested that the company was in debt as far back as 1998, which doesn’t really surprise me either since most companies would choose between debt or equity (shares issue), and for a company wishing to stay independent and private, prada chose to take on loans and debts.

Reading into the history of prada, i found it interesting that they actually acquired about 9.5% of shares in gucci back in 1998. With gucci being at the centre of a takeover war, prada sold their shareholdings to LVMH for a nice tidy profit. With prada’s debts, it was apparent that they were unable to mount a successful takeover of gucci, hence the sale of shares. however gucci resisted the further takeover attempts by LVMH, and sold the majority of their shareholdings to francois pinault, which now forms the crown jewel of the PPR empire.

The cordial relationship between Prada and LVMH post gucci shares sale continued into 1999. together, they bought 51% shareholdings in italian luxury house fendi for US$520m. However under pressure from their bankers to pay off the huge debts, in 2001 prada then sold their share in fendi to LVMH.

Besides the investment in gucci and fendi in the 90s, the more prominent investments from prada were the acquisitions of helmut lang and jil sander in 1999, which saw prada paying about US$100m each for the two companies. The move created a huge outcry, with many accusing lang and sander to be a sell-out to the more commercially driven prada. With the commercial acumen of patrizio bertelli at prada and the creative teams at lang and sander, the new structure should really work. But mergers and acquisitions often doesn’t take into account of human emotions. and we all knew lang and sander both walked out of their namesake companies.

It was again reported that under pressure from bankers to finance their loans, bertelli needed a quick turnaround for helmut lang and jil sander, hence the more commercial approach and introduction of logo emblazoned accessories from helmut lang not long after the prada takeover. Presumably under pressure to finance their loans, prada then sold their investment in helmut lang to current owners link theory, and jil sander to a private equity firm.

And it is interesting to see prada growing the company through acquisitions in the 90s, whereas other similar private companies the likes of armani and versace developed diffusion lines to grow organically.

The strategy of growing by acquisitions in the 90s seemed to have changed. Prada is now concentrating their efforts on growing prada mainline as well as diffusion line miu miu. there were earlier reports that prada needed to raise cash fast in order to service their loans. Is that the reason why we are seeing more lower priced and entry-level products, like the printed cotton bags above?

Is the need to desperately pay off loans the reason why we are seeing much more lower priced bags from prada mainline. I always maintain my view, that what we see in shops is not really a direct result of what is cutting edge or fashionable, but a byproduct of commercial decisions. Of course, prada sold the above bags alongside other expensive and exquisite creations, treading along what miuccia wants (high fashion) and what bertelli needs (erm, cash).

Very clever.

Prada could have concentrated on what they have on their plates at the moment and work towards paying off the huge loan. but they see china as a huge opportunity, a reason why they took on an additional €360m loan last week. Whis will allow them to finance the opening of new stores in china, which many agreed will be the biggest consumers of luxury products.

I personally think prada will do very well in the chinese market. if i can be crude and honest (that’s the difference between blogs and magazines, no?), the first generation of the new found wealth affluent chinese consumers are big on logos and the carrie bradshaw culture: “i want my money where i (and others) can see them.” i could be generalising and typecasting, but no offense intended. different cuts, different strokes. Prada, with the clever use of their triangular logo on their accessories, and miu miu with their logos etched on almost every of their bags, will certainly do very well in that market.

And prada knew. They collaborated with chinese artist yang fudong on a mini movie/campaign called “first spring” which was shot entirely in china. It is my favourite prada campaign to date, and one that fuses chinese heritage and cultures so well without appearing to be patronising like many of the other fashion houses out there.

We know accessories is the most profitable part of the luxury retail business. penetrating the new market will be vital to them staying afloat. and talking of float, the many talks of prada floating on the stock exchange could be soon. Markets are on the up, the successful float of the business would help repay prada’s loans and ease the financial pressures. That would mean relinquishing some of their 95% shareholding, but also an exit plan for bertelli and miuccia who are in their 60s.

So what is my point?

None really.

I just find it fascinating that prada is in so much debt. Profitable with sales but achieved through massive financing and borrowings. Perhaps we should really pay more attention to the resources used to generate the sales, at what sacrifice. But who am i to say their business model is flawed. For a family who wanted to keep the company private, control comes at a price.

It was reported that the company could be worth between €3 to €4 billion if it floats on the stock exchange. Not bad for a family run business huh? The feeling is perhaps not mutual now, but they will have the last laugh.

And oh, my point is i really really like the coat above, which i think is moleskin cotton with wool double layered collars. after all the ditterings above, i decided that will be my winter investment coat this year. The buyer for the london stores better pick that piece or else words will be had. that will be my little effort to help prada pay off the loans. You’re welcome, don’t mention it.

It’s really amazing to see the pure haute couture made by leather and furs. The most people expect silk, lace and crystals when they think about the art of couture,, but the people of “The house of Martin Margiela” can make a different couture.

We like that the all of the outfits are made by leather and we love the pants. We like and the fur coats, but the must have from haute couture for fall of this year are the multicolored leather boots.

The thing that our team don’t like is the last outfit that remained the cowboy-girl old American outfit. the designer try to make it most Margiela, but it’s really different and looks more like “I want to be Margiela and I can make things like him”, but no, you can’t.

There’s a sense of nostalgia looking at Prada’s new Fall Winter 2010 Ad Campaign. Set in a club scene, with couples apparently getting pretty intimate with each other.

Go back to those romantic, uncomplicated yesteryear which reminds you of the good old days in the fifties. However, they could have replaced that modern looking microphone with something more vintage for a more cohesive feel.

The women’s series of ads gets presented in ‘technicolour’ while the men’s series is in pure black and white. The camouflage print is clearly seen on the handbag on the 3rd ad, which is poised to be the key design accent for Prada’s Fall Winter 2010 collection.

One thing amiss from these shots by Steven Meisel is that the whole group shot (especially from the coloured series) looked over posed and digitally put together. The woes of modern digital photography. We sometimes rely too much on technology and those charming ‘imperfections’ in traditional photography is lost.