Results tagged “RAD HOURANI” from one management blog





Rad Hourani will be showing his first Haute Couture collection during Paris Haute Couture week this July 2012, and will be the first designer to present a Unisex Haute Couture show in history. Driven by an innovative approach to design and couture for the past 5 years, Rad Hourani has established a singular unisex vision and is pleased to show that his namesake label has now fully come into its own. The unisex reversible and transformable pieces are handcrafted and made with meticulous precision and dedication to Rad's vision: genderless, seasonless and timeless. Exclusive and unique these pieces are destined to be more than garments, a collector's item.

Every season Rad and his team style his looks by paying a deep attention to every single detail during his fittings to give us the best of what he does by editing the looks for each model to fit with their faces and body shapes. We wanted to share with you how much work goes into the process of editing runway looks. Here's an exclusive look from the RAD by Rad Hourani ready to wear collection #4 fitting in New York in which you can see all the looks and details edits on RAD's favorite faces.

Photography by Rad Hourani
Fashion editor Patti Wilson
Casting by Wayne Sterling
Stylist William Graper
Hair Ramona Eschbach for Oribe
Make up by Luc Bouchard for Mac
Production by Melissa Matos

The collection is available online at









Carola is Contemporary by Rad Hourani








ONE interviews Anna dello Russo



Anna dello Russo, Italian, Extravagant, Style icon. These are only a few words frequently used to describe the Matriarch of the Fashion blogger fame and the fastest growing brand of any known fashion editor today. Determined to express her point of view, ADR has chosen a path that gives her slightly more freedom than that allowed by the politics and pressures of an increasingly more corporate industry. This season she managed to add yet another title to the ever growing list of positions played, styled by Katie Grand-a-minute for Emanuel Ungaro, Anna wasn't just in attendance, she was a model in the show. Now, she sits with us to discuss her story, interests and the system by which she selects her stunning looks from the runways. Before our time was up, Anna also played dress up with designer and visual artist, Rad Hourani who both photographed and styled our latest subject exclusively for ONE interviews &


Christopher Michael: Anna Dello Russo... This is your real name?


Anna dello Russo: Yes (laughs), it's mine.


CM: At what point in life did you realize you were as obsessed with fashion as you are now?


ADR: I was born in the south of Italy where there is no fashion, and as young as I can remember, I started to wonder how I could work with fashion because where I was from, there were no opportunities to do something with it. Where I'm from, there is just one mini boutique, nothing not having access to it all had caused me to become quite obsessed. I thought for a moment that I should start my own boutique but then my father said "No way! After university!? You should go for it all the way, go to Milan and become what you want, a journalist."


CM: What did you study at university?


ADR: Historic art, of course that was another reason I loved fashion. If you notice in all of the antique art, there are all the styles, proportions, colors and composition that are used in fashion. I studied all historic art, no contemporary.


CM: In the documentary called "CATALK" Andre Leon Talley was asked if he thought fashion was art, and his response was. "No fashion is not art, fashion is hard work!" I wanted to ask you this same question...Do you think that fashion is art?


ADR: No, absolutely not. I think fashion is a muse, like music, like art, they are all muses. Fashion is a popular communication, whereas art is more of an elective communication. I don't believe fashion is art, no.


CM: I've been told that in the beginning many years ago, you were very shy... Is that true?


ADR: Yes, I was invisible! I was a beginner, first of all, and secondly I was a hard worker. At the time I didn't have time to show off. I spent all my time and energy learning about photography, about shooting, about modeling. I didn't ever think to dress up or put make up on myself because I was just working as much as I could to understand fashion and the images of fashion. I worked with the best photographers in the world, if I was next to Helmut Newton, I couldn't think about hair and make up on myself! I was such a beginner, but I believe everything comes at the right time. That's why I always say to young people now, visibility and blogging and all of that, it is not enough; don't think this is the work. That is a beginning, it is a starting point. After that you have to put your energy into the job, and not just in parties and showing up to shows. I never used to come to New York for the shows, it was always only Paris. I remember, if Franca would take us to Paris, it was an incredible season. We didn't have time to go and see the shows. I remember thinking, those people are so lucky to sit on the bench! After the shows in Paris, we would always work right away.

CM: So you would just pull directly from the shows you were watching for the shoot happening right after the week was done?

ADR: The first day of shows was fantastic...The second day, we would be choosing the looks from the collections for the stories already. Every month I was doing a shooting. Back then I was working with about 10 luggages, no assistant. I remember one time, it was quite funny, one of the American based editors called and said "Hello may I please speak to the shoe editor?," and I remember looking at Alice [gentilucci] going, "Shoe editor? What are they talking about shoe editor?," because it was just the two of us in the fashion department, that was it. It was a whole other level. Italians, we did an incredible job with no money and no assistants. Now it's like having revenge, I come just to see the shows and I have time to dress myself up and all of this, it's like a miracle.


CM: What originally lead to you leaving Italian Vogue?


ADR: I spent 12 years at Italian Vogue as Fashion Editor, after that Franca asked me to become the editor in chief of L'uomo Vogue and of course I said yes. I spent another 6 years at L'uomo Vogue, after which I left because I wanted to sort of, start my own career. I really wanted to go back to working on women. Then I was offered the position at Japanese Vogue.


CM: It seems that you are the real Matriarch behind the birth of the fashion blogger fame, after originally suggesting to Stefano and Domenico that they sit the bloggers front row... How did you come up with this idea?


ADR: I was talking with Stefano and Domenico saying that I believe there is a big evolution happening right now from the background. With magazines being so expensive, it was hard to reach the younger audiences and these bloggers were reaching those young people with their sites. I never felt the power of this evolution as much as now. We are always talking about the industry and trying to understand where it is, where it is going, etc. I said, "To me, this is an incredible, incredible phenomenon." I'm lucky in that Stefano and I grew up together, we are the same age and he's the best friend I have in the fashion industry.


CM: What was the catalyst for you where you decided to really come out and become your own brand?



ADR: I didn't come out and talk about my brand, I talked about my freedom. At that time, I was thinking about my own expression, because of course I love Japanese Vogue, but in any case, I was thinking to express myself. I thought, I should really jump in this world and have a voice to really express myself. With magazines, you don't really express yourself; you express a corporate vision, you express the vision of Conde Nast. It's not really your point of view. You can't say in the magazine what you really like, it's all a very political vision. So I thought, maybe I should spend some time and energy to finally have my little voice, and now it's happening.


CM: To the onlooker it would appear as though you are quite a big fan of social media across the board...


ADR: In the beginning I was so uncomfortable with it all, but now I love things like twitter; it's very immediate and you can reach people NOW. Also, during fashion week it can be very informative. Sometimes if I miss something or forget something I'll end up seeing it on twitter. Another example is when I found out that Nicola Formichetti became the new creative director of Thierry Mugler via twitter. That's what makes it incredible, you are staying in touch with your job in a spontaneous way. It's really great.


CM: So it goes without saying then that you are a fan of how fashion has evolved into a much more accessible industry in place of the sort of closed off elitist world that it used to be...


ADR: Yes, because we spent 20 years closed up in our cage; in the past we sometimes didn't go after the shows to say hi to the designer, even. It was more of a snobby attitude, it was too much. Now I completely love the fact that young people come to me and talk and you feel that sort of audience. I remember the years I was at L'uomo Vogue and I didn't feel the audience. I'd find myself asking, who is the reader of this magazine? Straight, gay, old, young I had no idea. There was no way to really experience your audience. I find the way fashion has become now to be far more real and approachable.


CM: Being fascinated by the industry as a whole and it's evolution, with bloggers having been a huge part of that constant change, what do you see as the next big evolution in our business?


ADR: That is a good question, I really don't know where we are going, I really don't know. To me, the speed of fashion is slowing down a little now, everyone seems to be getting to the roots. For example, everyone talking about heritage, roots and the history of fashion. This is nice.


CDR: I think that's really nice to hear. Everyone has felt such pressure to mass produce and do so in a hurry, the idea of slowing down and 'smelling the roses' so to speak is nice. Speaking of new and change, you've been working a lot with Giampaolo Sgura...


ADR: Yes, I love him! He's from the same city as me. For me, I get very excited when working with young people and to see how they see things. For me it's about getting new and fresh air, and to not get stuck in my position, otherwise it's already done. Giampaolo is an example of that fresh air, and at the same time going back to the excessive fashion of the past but doing it in a modern way.


CDR: Who was the first magical moment for you working with a photographer...

ADR: Two moments, one was a moment with Helmut Newton; he took a picture of me, he was the first one to take a picture of me actually. That was in 1996. He said to me, "listen, after we finish shooting, I'd love to photograph you." I was afraid thinking, is he going to want to shoot a nude picture of me? And said, "Are you sure Helmut?" and he said "Yes, take your long long black coat..." and we did the picture. The second was with Steven Meisel. I remember the first time I was so hot it was as if I had a fever, just from the nerves. Then he arrived and he had black hair and I said "oh my god, HE looks good too. What do I do!" He was so beautiful and, of course he was speaking English to me at a time when I did not speak English so well. During those years there was only one that I missed the chance to work with, which was Avedon, Richard Avedon.


CM: With all this talk about the 90's, what sort of changes do you feel have occurred in magazines today in comparison to publications during the 1990's...


ADR: First of all, in the 90's everything was TOP...Top model, top photographer, top designer, all top. I felt like a little mouse, everything was huge in terms of proportion. When I used to come into the studio I always felt like such a little mouse, because you used to arrive and Claudia Schiffer was there, Linda Evangelista, Francois Nars... Everything was in huge scale. Now, the approach is much more democratic in a way, much more easy and cool, more approachable. There is a possibility to have different kinds of levels simultaneously. At that time, the level was pretty pretty high across the board. I remember some clothes were only reserved for Vogue, no other magazine was allowed to use them. Now, every magazine looks good because they have access to all the collections. Of course the economic pressures are starting to become more and more obvious since the recession, the client and the magazines both have to sell. In terms of how the work is approached, things are more 'easy' now.


CM: Well before there was less of everything, there were 20 models and now there are 3,000. There is more of everything from designers and photographers to stylists and magazines, all of it... Do you prefer working in this way over how it was when there was less of everything?


ADR: It's not about one being better than the other, it's about each time being different.


CM: Anna Dello Russo, the lady of looks, going through so many outfits in a day and over the entire show season. What goes into the selection of your clothing?


ADR: It has to be top level.  I love catwalk outfits because they always have a lot of creativity. Full looks are good, I don't like mixing. I share the passion with the designer, why should I mix it? They do very well with the catwalk pieces. I love when you can look and say "Oh this is a Givenchy, this is Balenciaga," I love when it's flashy clothing.


CM: You travel quite frequently but you've managed to keep your base in Italy, do you think that will ever change?


ADR: Yes because Italy is such a nice place to live, the quality of life here is so wonderful. First, of course I have my family here and secondly because it's such a great place to live. When I travel around the world I love it, but how you can live in Italy is so easy. When I'm home in Italy, I don't need anything, and the best city to go shopping is still Milan. The best selection, most of the clothes are done in Italy, the best place to go shopping is in Italy because you have an incredible selection of everything. Easy access, I still love to travel but I can tell you, in a couple of years I hope to be in one place and just enjoy the life.





TANGA in Space Age by Rad Hourani

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ONE WORLD + Rad Hourani













Gloria goes RAD SS10

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Open Rad Hourani to Vogue Italia


Rad Hourani Interviewed by ONE F.W 09



What made you start designing?

This plan of launching my own label had been in the back of my head for a long time but I just didn't feel ready for it 5 years ago. When I was a child, my mother would take me every week to her dressmaker so we could choose the fabrics and designs for her next outfit so I started giving my opinions on it pretty early on. Styling is also a great way to analyze how things are constructed and marketed, especially for someone who never went to design or fashion school like me. It was probably longer than a scholarship, but I feel that I learned way more, and I now have the bonus of knowing a lot of great people who support me today.


What is your biggest inspiration in Life that you feel contributes the most to your design and style?

Myself. The way I evolve, I think, I observe. What you see is what you are.


It would seem to the outside world that your creativity pervades all areas of your life, from your speech to your design to any area you occupy..if you were to fit yourself into any one description, what would it be?

Beauty is everywhere, yet perfection is nowhere. I'm a perfectionist and I think that fashion makes me feel that perfection can maybe one day exist. So Fashion is Full of Illusions...


You've chosen to show your collection in New York, which has added a much needed edge to the spectrum of shows here and leaving the paris fashion addicts wondering why your not gracing them with your show? What made you choose to show in New York?

Circumstances have brought me to move around from an early point in my life, and I've felt compelled to continue on doing so. It's this experience that has made me consider things in a wider perspective, with no restrictions really. I want to convey this notion into my line, and design clothes that can be worn anywhere, anytime. I moved to Paris 4 years ago and that's where it all started, the inspiration, the vision, the sketching, the direction and the real debut which was actually in October 2007 in Paris. I felt very comfortable about it and I was very surprised with all of the hype. I'm very lucky to be surrounded by people like Hung Vanngo, Kelly Streit and Wayne Sterling who supported me to show in New York from the very beginning.





This Past season you worked with Patti Wilson on the Show, it came out beautifully..what made you choose to work with her as the stylist for this collection?

Patti Wilson is a wonderful talented human being. It's very important for me to have no reference in my collection of any vintage feeling and Patti has seen fashion from A to Z and knows everything about it and I feel that it's perfect to work with her to create something modern and to make sure that it has no past or reference. I'm very thankful to have Patti and her team around me.


Since your first show you've always managed to mix in big names with brand new faces giving off somewhat of a Jil, Calvin, Prada structure to the that the result of you being inspired by both the new raw girl as well as the model who may have developed her own brand further or is it more of a delicate balance that you find important in the show..?

I really enjoy working with my casting director Wayne Sterling, because we are always looking for a new, fresh, modern line up that fits perfectly with the collection. We're not interested in an only big model names line up, it's "passe" I think. It's great to work with new fresh awake models that are full of energy and love what they do, we're tired of tired models, they should work in another industry. I think you can see everything on a catwalk and we want to work with fresh, modern, energetic models which my clients want to look alike. I think a perfect example of this is my exclusive this season, Janete who opened the show.


I think a lot of people have been trying to figure out just what your background is? You speak a beautiful French, you spend quite a bit of time in Paris and you are from Montreal..what else are we missing on the background of Rad Hourani?

My dad is Jordanian & my mom is Syrian, I was born in Jordan and my dad and I moved back to Montreal /Canada (where he lived and studied) when I was 16. I moved to Paris when I was 22.


I understand the Success of the line has been quite fast for you and trying to keep up with the production demands has been your biggest challenge with all of this..what do you think it is that makes your line so sellable in a time where even luxury brands have noticed a shift in sales?

I believe that using what I would like to wear as a starting point to the design process is the most truthful and straightforward approach. It allows me to stay focused on my aesthetic statement and also assess my commitment to wearability, functionality, and comfort. I don't need to be the one who makes the boldest statement every season, I'd much rather commit to my personal aesthetics and that of the people who like to wear my clothes. I feel it would be an error to saturate the market too quickly, and rush to complete orders anywhere I can. I wanted to secure a solid manufacturing structure to ensure quality, and to be sold only in the right places. I want my clothes to be rare and perfect, I guess..


Moving into a new time for everyone, what is your biggest inspiration thus far for the next collection? Can we have a hint?

I think in life, we're here to perfect ourselves and learn as much as possible. My inspiration is something that I can't put my fingers on or describe. It's in the air and everywhere. For my 5th collection I want to put all my main classics that I started from the beginning in a way that I see my reflection in. My black and white, red, dark blue, gray, main colors. I chose style over fashion and given the nature of the fashion calendar, I have to present my collections on a bi-annual basis, but I design them with the idea that they could be worn by anyone, at any time. Therefore I do not start every new season with a specific theme or concept, but rather try to establish a continuity from one to the next.


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More Rad Hourani Coverage


Rad Hourani:
"I wanted to start and end with very representative looks: black, modern, straight, sharp, timeless and free from any gender differentiations. I like to do [what] feels right to me and working with stylist Patti Wilson was a great add. Janete [Friedrich], my exclusive model, looked perfect in every look and we thought [the first one] was her best outfit to open the show with. I want  to make clothes that give the wearer a bold presence without looking contrived or overdone. The last look is confident and powerful, sort of like a weightless armor."

Photos: Imaxtree

More on Rad Hourani F.W 09 - Janete Opens has always given you an eye into the action of fashion week but this season we push the boundaries one step further. MDX is taking a more expansive view of fashion with a massive makeover. Upgrading to full HD video and providing an exclusive view of Rad Hourani's much talked about sleek minimalist collection. It's as close as you can get to seating in the front row without being there.

See the complete Rad Hourani F/W 09 Show video here

Janete by Rad Hourani F.W 09


Rad Hourani at a Closer Look

Interview with Rad Hourani


Rad_profileFresh off his ELLE debut this month (see page 326 of this month's issue to view Jessica Alba in one of his signature all-leather looks), Jordanian-born designer Rad Hourani may not have the household-name recognition of a Marc or a Karl, but given that this is only his fourth RTW collection and already he packs a venue to capacity with the most avant garde audience I've seen all week speaks volumes about the impression he's made on the industry's tastemakers.

Fortunate enough to have a few minutes with Rad after the models, makeup artists and throngs of friends and fans cleared out of Openhouse Gallery's makeshift backstage area, I asked the designer about his inspiration for this latest collection, how he felt about celebrities in the front row, and though I was in no way complaining, why he sends so much black down the runway.


If you could put anyone on the cover of ELLE, who would it be and which of your designs would she wear?

Oh, that's easy, I'd pick Janete [Friedrich], the model who opened my show. She represents my vision perfectly, which is that beauty is nothing without a little strangeness. I like when magazines take a risk and do something that pushes the boundaries. Janete in one of my designs on the cover of ELLE would definitely be pushing boundaries!

There was a lot of black in this show. Judging from your past two collections, I was expecting pops of red-what made you go so dark this season?

I'm such a night person. There's something that happens in the darkness of night that is very beautiful to me, and I was inspired by that. The past two seasons I've included red, because it is such a timeless, strong color, but this time I thought I'd take a moment of silence and go completely dark. But it wasn't all black this season--there was a lot of navy, too!

Do you have a hand in who sits in your front row?

I am involved in every aspect of the show, from the clothes to the models to who sits in my audience.

What do you think about celebrities attending your shows?

I think celebrity is a funny thing. To me, anyone can be a celebrity or think they're a celebrity. But when they make [their appearance] more about them than the show itself, I have a problem with that. I don't want that at my show.

What are you looking forward to most now that the show is over?

My after-party. The Misshapes will be there!

Speaking of your after-party, the invitation mandates an "all-black" dress code. What would happen if Joe Zee showed up in grey? Would you refuse him entry?

Joe Zee? Joe Zee can do anything he wants. If he shows up in grey, I will let him in. He's been very, very good to me.





Rad Hourani F.W 09 Closes the week @ 3pm!


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