Timelessness is a word that many use in fashion, art and architecture. Rad Hourani has been equally obsessed as any visionary with timelessness. Louis Khan, the great modernist architect, took inspiration from the ancient ruins to create some of the iconic buildings of the 20th century. He is deemed to have created some of the most timeless architectural buildings, as he used the past for inspiration, and his modern gaze to create something truly new. When an art collector purchases a painting, or a sculpture, it is an object that they live with for many years and is passed on for posterity. Haute Couture is the realm where a garment becomes an art piece. For some years it was deemed as a dying art form, and craftsmanship, because prêt à porter was so prevalent in the market. Many deemed Haute Couture as something frivolous that did not have its place in Contemporary culture and market. In the past few years, as collections and designers have become exhausted and repetitive because of the cycle of fashion, we have collectively recognized that this model is modernist and not contemporary. It is not conducive to transcendent creation in design. However, Couture is something that is passed on to other generations, the way an art piece is passed on as legacy, and the way we inhabit architecture for many years. It is shown in museums to articulate the genius of a generation. The attention around Rad Hourani’s UNISEX collection has informed us about how we view our identity politics in the 21st century while using the traditional codes of the Chambre Syndicale de la Haute Couture. Rad Hourani is not looking to dress man as woman or woman as man. He sees his garments as architectural origamis that fit both genders seamlessly. We can think of the smoking by YSL, and how he put women in tuxedos, that changed the way women dressed in the 20th century. In the 21st century, Rad Hourani UNISEX couture is creating his own statement in Paris, where the Couture story began - CONTINUE READING