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Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>[aside postid='arts_13928464']His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWs94_ZaDLw\u003c/p>\n\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>[aside postid='arts_13958404']Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new Hulu show takes us surprisingly deep inside a controversial figure who moved constantly forward, spurred on by ambition.","status":"publish","parent":0,"modified":1717783251,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":820},"headData":{"title":"‘Becoming Karl Lagerfeld’ Review: New Hulu Show Dives Deep | KQED","description":"A new Hulu show takes us surprisingly deep inside a controversial figure who moved constantly forward, spurred on by ambition.","ogTitle":"'Becoming Karl Lagerfeld' Is the Smart Backstory of a Complicated Style Icon","ogDescription":"","ogImgId":"","twTitle":"'Becoming Karl Lagerfeld' Is the Smart Backstory of a Complicated Style Icon","twDescription":"","twImgId":"","socialTitle":"‘Becoming Karl Lagerfeld’ Review: New Hulu Show Dives Deep%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon","datePublished":"2024-06-07T11:00:51-07:00","dateModified":"2024-06-07T11:00:51-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"John Powers","nprStoryId":"nx-s1-4992367","nprHtmlLink":"https://www.npr.org/2024/06/04/nx-s1-4992367/becoming-karl-lagerfeld-review","nprRetrievedStory":"1","nprPubDate":"2024-06-07T11:51:50.657-04:00","nprStoryDate":"2024-06-07T11:51:50.657-04:00","nprLastModifiedDate":"2024-06-07T11:52:06.816-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13959459/becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928464","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dWs94_ZaDLw'\n title='//www.youtube.com/embed/dWs94_ZaDLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958404","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959459/becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer","authors":["byline_arts_13959459"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_75","arts_990"],"tags":["arts_22004","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13959461","label":"arts_140"},"arts_13958896":{"type":"posts","id":"arts_13958896","meta":{"index":"posts_1716263798","site":"arts","id":"13958896","score":null,"sort":[1717524265000]},"guestAuthors":[],"slug":"solespace-lab-oakland-sneakers-sustainability","title":"A Popular Oakland Sneaker Shop Returns — With a Twist","publishDate":1717524265,"format":"standard","headTitle":"A Popular Oakland Sneaker Shop Returns — With a Twist | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>For seven years, from 2012–2019, \u003ca href=\"https://www.instagram.com/solespacelab\">SoleSpace\u003c/a> — sneaker shop by day, community activation hub by night — served Oakland’s most community-minded sneakerheads, art lovers and streetwear addicts. The Telegraph Avenue storefront hosted \u003ca href=\"https://www.kqed.org/arts/13840766/advice-from-a-former-graffiti-writer-to-oaklands-new-generation\">workshops and events\u003c/a> (like a \u003ca href=\"https://www.instagram.com/solespace.lab/reel/Btgz3ddn4th/\">Lauryn Hill in-store signing\u003c/a>) that drew crowds so large you’d have to peer through the window to see the action inside.\u003c/p>\n\u003cp>Sadly, after a series of unexpected health issues, frequent break-ins, rising rent and a declining retail environment, SoleSpace shuttered in 2019.\u003c/p>\n\u003cp>[aside postID='arts_13840766']Now, after a five-year hiatus, cofounder Jeff Perlstein and biotech fashion designer \u003ca href=\"https://www.instagram.com/olivia__cueva/\">Olivia Cueva\u003c/a> are resurrecting the footwear store as an eco-friendly sneaker workshop. At SoleSpace Lab, a pilot project this summer on 12th Street in downtown Oakland, green-leaning sneakerheads and designers alike will be able to take classes on upcycling, shoe repair and more. The shop will pivot away from commercial retail — no new sneakers will be for sale — and instead focus on rethinking fashion’s role in the global climate crisis through education and community engagement, with an emphasis on youth development, sustainability and equity.\u003c/p>\n\u003cp>“I didn’t think I would touch [sneakers] again,” Perlstein says. “But I reflected on the excitement and joy I’d seen around shoes. Part of this is making peace with my critiques of the sneaker industry’s impact on the planet and bringing sustainability to sneakers.”\u003c/p>\n\u003cp>“It’s not about retail and selling some corporate-approved design, but how can we better take care of products that already exist?” he continues. “Those sneakers you already own, how can we dust them off and repair them, make them spicier to match a certain fit? This is about harnessing people’s creativity in Oakland and seeing how we can change things and give them a new life.”\u003c/p>\n\u003cfigure id=\"attachment_13959116\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg\" alt=\"two shoe designers hold up their custom made pair of shoes\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Perlstein (left) spent a year taking sneaker upcycling workshops with professional cobblers, including Brooklyn’s Sung Me (right), who will visit SoulSpace Lab this summer to lead a workshop. \u003ccite>(Courtesy SoleSpace Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perlstein’s recommitment to sneakers began during the pandemic, when his teenage son, Joaquin, enrolled into the Oakland School of the Arts’ fashion design pathway. Eventually, Perlstein teamed up with a village of local makers, fashion experts and artisans, including Cueva — who has more than a decade’s worth of education and community work under her belt, most recently as the director of the \u003ca href=\"https://www.instagram.com/theglovercenter/\">David E. Glover Emerging Technology Center\u003c/a> in deep East Oakland — to form what would become the \u003ca href=\"https://www.instagram.com/oaklandstylelab/?hl=en\">Oakland Style Lab\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Cueva’s background in sustainable fashion technology (she attended \u003ca href=\"https://fablabbcn.org/education/in-house-programs/fabricademy-barcelona\">Fabricademy\u003c/a> in Barcelona), her work with Oakland Style Lab for the past four years has focused on mitigating fashion’s often wasteful practices. She’s found that by using bioplastics and biodegradable materials, such as hemp, cactus and pineapple “leathers,” goji berries and echinacea, it’s possible to design sneakers that are both eco-friendly and popular.\u003c/p>\n\u003cp>“I was basically looking at what’s going on in our culture, being heavily influenced by celebrities and Instagram to have new things all the time,” Cueva explains. “The problem is we’re dumping stuff out that doesn’t go away. These materials are bad for the earth. I wanted to create things that will go back into the earth and feed it, nurture it.”\u003c/p>\n\u003cp>[aside postID='arts_13954364']In July, Cueva will lead a four-day intensive class at SoleSpace Lab, teaching how to craft a pair of biodegradable Air Jordan 1s from scratch. Makers like Cueva and \u003ca href=\"https://www.instagram.com/thehoodcobbler/?hl=en\">The Hood Cobbler\u003c/a> — a popular East Oakland sneaker repair expert — will providing courses, seminars and mentorship to Oakland’s next generation of designers, creatives and problem-solvers.\u003c/p>\n\u003cp>Other guests will include \u003ca href=\"https://www.instagram.com/stepkicks510/?hl=en\">Stepkicks510\u003c/a>, the Buenos Aires-born DJ-turned-sneakerhead who personally gifted Argentina’s Lionel Messi a pair of custom-made Adidas Sambas; \u003ca href=\"https://www.instagram.com/cobbler_bushwick_co/\">Sung Roh\u003c/a>, a Korean master cobbler residing in Brooklyn who Perlstein took a class from last year; and a \u003ca href=\"https://www.sneakermuseumoakland.org/\">Sneaker Museum Oakland\u003c/a> pop-up.\u003c/p>\n\u003cfigure id=\"attachment_13959113\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg\" alt=\"a local designer showcases her biodegradable Nike sneaker\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Cueva of Oakland Style Lab showcases her customized biodegradable Jordan 1 sneakers. Cueva will run an intensive four-day sneaker design workshop in July. \u003ccite>(Courtesy Olivia Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, SoleSpace Lab is crowdsourcing funds for their pilot program. Offerings will include drop-in shoe cleaning and repair, a six-week externship for Oakland Unified School District students, and public events like the \u003ca href=\"https://www.instagram.com/p/C7aVpwztTr1/?img_index=1\">Converse and Birkenstock upcycling class\u003c/a>.\u003c/p>\n\u003cp>Perlstein, who gets visibly fired up about it all, is adamant about wanting to create the world’s greenest sneaker outlet with a commitment to exchanging communal knowledge.\u003c/p>\n\u003cp>“When I was a kid, sneaker shops were a place where old heads would hang and you could soak up game and history,” he says. “But sneaker shops and the industry have changed so much with online raffles … You get your shoe and leave, or it gets delivered to your home. So how can we make a space for people to come together with joy and sustainability as the focus?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SoleSpace Lab is \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">currently raising funds\u003c/a> for their summer pilot program. The grand opening takes place on Friday, June 14, at 302 12th St. (formerly Lucky Duck Bicycle Cafe) in Oakland. \u003cspan style=\"font-weight: 400\">Information\u003c/span>\u003cspan style=\"font-weight: 400\"> about tickets, classes and services available \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">here\u003c/a>.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"SoleSpace is set to reopen as a sneaker lab focused on upcycling, youth development and sustainability.","status":"publish","parent":0,"modified":1717612399,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":918},"headData":{"title":"Oakland Sneaker Shop SoleSpace Returns – With a Twist | KQED","description":"SoleSpace is set to reopen as a sneaker lab focused on upcycling, youth development and sustainability.","ogTitle":"A Popular Oakland Sneaker Shop Returns — With a Twist","ogDescription":"","ogImgId":"","twTitle":"A Popular Oakland Sneaker Shop Returns — With a Twist","twDescription":"","twImgId":"","socialTitle":"Oakland Sneaker Shop SoleSpace Returns – With a Twist %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Popular Oakland Sneaker Shop Returns — With a Twist","datePublished":"2024-06-04T11:04:25-07:00","dateModified":"2024-06-05T11:33:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"a-popular-oakland-sneaker-shop-returns","nprStoryId":"kqed-13958896","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958896/solespace-lab-oakland-sneakers-sustainability","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For seven years, from 2012–2019, \u003ca href=\"https://www.instagram.com/solespacelab\">SoleSpace\u003c/a> — sneaker shop by day, community activation hub by night — served Oakland’s most community-minded sneakerheads, art lovers and streetwear addicts. The Telegraph Avenue storefront hosted \u003ca href=\"https://www.kqed.org/arts/13840766/advice-from-a-former-graffiti-writer-to-oaklands-new-generation\">workshops and events\u003c/a> (like a \u003ca href=\"https://www.instagram.com/solespace.lab/reel/Btgz3ddn4th/\">Lauryn Hill in-store signing\u003c/a>) that drew crowds so large you’d have to peer through the window to see the action inside.\u003c/p>\n\u003cp>Sadly, after a series of unexpected health issues, frequent break-ins, rising rent and a declining retail environment, SoleSpace shuttered in 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13840766","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Now, after a five-year hiatus, cofounder Jeff Perlstein and biotech fashion designer \u003ca href=\"https://www.instagram.com/olivia__cueva/\">Olivia Cueva\u003c/a> are resurrecting the footwear store as an eco-friendly sneaker workshop. At SoleSpace Lab, a pilot project this summer on 12th Street in downtown Oakland, green-leaning sneakerheads and designers alike will be able to take classes on upcycling, shoe repair and more. The shop will pivot away from commercial retail — no new sneakers will be for sale — and instead focus on rethinking fashion’s role in the global climate crisis through education and community engagement, with an emphasis on youth development, sustainability and equity.\u003c/p>\n\u003cp>“I didn’t think I would touch [sneakers] again,” Perlstein says. “But I reflected on the excitement and joy I’d seen around shoes. Part of this is making peace with my critiques of the sneaker industry’s impact on the planet and bringing sustainability to sneakers.”\u003c/p>\n\u003cp>“It’s not about retail and selling some corporate-approved design, but how can we better take care of products that already exist?” he continues. “Those sneakers you already own, how can we dust them off and repair them, make them spicier to match a certain fit? This is about harnessing people’s creativity in Oakland and seeing how we can change things and give them a new life.”\u003c/p>\n\u003cfigure id=\"attachment_13959116\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg\" alt=\"two shoe designers hold up their custom made pair of shoes\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Perlstein (left) spent a year taking sneaker upcycling workshops with professional cobblers, including Brooklyn’s Sung Me (right), who will visit SoulSpace Lab this summer to lead a workshop. \u003ccite>(Courtesy SoleSpace Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perlstein’s recommitment to sneakers began during the pandemic, when his teenage son, Joaquin, enrolled into the Oakland School of the Arts’ fashion design pathway. Eventually, Perlstein teamed up with a village of local makers, fashion experts and artisans, including Cueva — who has more than a decade’s worth of education and community work under her belt, most recently as the director of the \u003ca href=\"https://www.instagram.com/theglovercenter/\">David E. Glover Emerging Technology Center\u003c/a> in deep East Oakland — to form what would become the \u003ca href=\"https://www.instagram.com/oaklandstylelab/?hl=en\">Oakland Style Lab\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Cueva’s background in sustainable fashion technology (she attended \u003ca href=\"https://fablabbcn.org/education/in-house-programs/fabricademy-barcelona\">Fabricademy\u003c/a> in Barcelona), her work with Oakland Style Lab for the past four years has focused on mitigating fashion’s often wasteful practices. She’s found that by using bioplastics and biodegradable materials, such as hemp, cactus and pineapple “leathers,” goji berries and echinacea, it’s possible to design sneakers that are both eco-friendly and popular.\u003c/p>\n\u003cp>“I was basically looking at what’s going on in our culture, being heavily influenced by celebrities and Instagram to have new things all the time,” Cueva explains. “The problem is we’re dumping stuff out that doesn’t go away. These materials are bad for the earth. I wanted to create things that will go back into the earth and feed it, nurture it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954364","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In July, Cueva will lead a four-day intensive class at SoleSpace Lab, teaching how to craft a pair of biodegradable Air Jordan 1s from scratch. Makers like Cueva and \u003ca href=\"https://www.instagram.com/thehoodcobbler/?hl=en\">The Hood Cobbler\u003c/a> — a popular East Oakland sneaker repair expert — will providing courses, seminars and mentorship to Oakland’s next generation of designers, creatives and problem-solvers.\u003c/p>\n\u003cp>Other guests will include \u003ca href=\"https://www.instagram.com/stepkicks510/?hl=en\">Stepkicks510\u003c/a>, the Buenos Aires-born DJ-turned-sneakerhead who personally gifted Argentina’s Lionel Messi a pair of custom-made Adidas Sambas; \u003ca href=\"https://www.instagram.com/cobbler_bushwick_co/\">Sung Roh\u003c/a>, a Korean master cobbler residing in Brooklyn who Perlstein took a class from last year; and a \u003ca href=\"https://www.sneakermuseumoakland.org/\">Sneaker Museum Oakland\u003c/a> pop-up.\u003c/p>\n\u003cfigure id=\"attachment_13959113\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg\" alt=\"a local designer showcases her biodegradable Nike sneaker\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Cueva of Oakland Style Lab showcases her customized biodegradable Jordan 1 sneakers. Cueva will run an intensive four-day sneaker design workshop in July. \u003ccite>(Courtesy Olivia Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, SoleSpace Lab is crowdsourcing funds for their pilot program. Offerings will include drop-in shoe cleaning and repair, a six-week externship for Oakland Unified School District students, and public events like the \u003ca href=\"https://www.instagram.com/p/C7aVpwztTr1/?img_index=1\">Converse and Birkenstock upcycling class\u003c/a>.\u003c/p>\n\u003cp>Perlstein, who gets visibly fired up about it all, is adamant about wanting to create the world’s greenest sneaker outlet with a commitment to exchanging communal knowledge.\u003c/p>\n\u003cp>“When I was a kid, sneaker shops were a place where old heads would hang and you could soak up game and history,” he says. “But sneaker shops and the industry have changed so much with online raffles … You get your shoe and leave, or it gets delivered to your home. So how can we make a space for people to come together with joy and sustainability as the focus?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SoleSpace Lab is \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">currently raising funds\u003c/a> for their summer pilot program. The grand opening takes place on Friday, June 14, at 302 12th St. (formerly Lucky Duck Bicycle Cafe) in Oakland. \u003cspan style=\"font-weight: 400\">Information\u003c/span>\u003cspan style=\"font-weight: 400\"> about tickets, classes and services available \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">here\u003c/a>.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958896/solespace-lab-oakland-sneakers-sustainability","authors":["11748"],"categories":["arts_1","arts_835","arts_76"],"tags":["arts_8700","arts_1696","arts_1143","arts_4693"],"featImg":"arts_13959114","label":"arts"},"arts_13958404":{"type":"posts","id":"arts_13958404","meta":{"index":"posts_1716263798","site":"arts","id":"13958404","score":null,"sort":[1716504724000]},"guestAuthors":[],"slug":"bay-area-student-fashion-shows-2024","title":"10 Collections that Stunned at Bay Area Student Fashion Shows","publishDate":1716504724,"format":"aside","headTitle":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco fashion students dropped dozens of to-die-for looks.","status":"publish","parent":0,"modified":1717100539,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":977},"headData":{"title":"10 Collections that Stunned at Bay Area Student Fashion Shows | KQED","description":"San Francisco fashion students dropped dozens of to-die-for looks.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Collections that Stunned at Bay Area Student Fashion Shows","datePublished":"2024-05-23T15:52:04-07:00","dateModified":"2024-05-30T13:22:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958404","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958404/bay-area-student-fashion-shows-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958404/bay-area-student-fashion-shows-2024","authors":["11872"],"categories":["arts_1","arts_76"],"tags":["arts_5850","arts_10342","arts_1696","arts_15240","arts_9510"],"featImg":"arts_13958461","label":"arts"},"arts_13957370":{"type":"posts","id":"arts_13957370","meta":{"index":"posts_1716263798","site":"arts","id":"13957370","score":null,"sort":[1715107270000]},"parent":0,"labelTerm":{"site":"arts","term":137},"blocks":[],"publishDate":1715107270,"format":"standard","title":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","headTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for? | KQED","content":"\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\n\u003cp>https://twitter.com/jxries/status/1787603212075233371\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\n\u003cp>https://twitter.com/wanthatoo/status/1787604418956754956\u003c/p>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>[aside postid='arts_13957112']“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/tereluprados/status/1787618574564999346\u003c/p>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/he_so_candid/status/1787608442116472883\u003c/p>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>[aside postid='arts_13952796']Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>[aside postid='arts_13932477']But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1093,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":31},"modified":1715107270,"excerpt":"Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.","headData":{"twImgId":"","twTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","socialTitle":"How to Spot Fake Images of Real Celebrities, Concocted By AI %%page%% %%sep%% KQED","ogTitle":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","ogImgId":"","twDescription":"","description":"Katy Perry, Rihanna and Lady Gaga weren't at the Met Gala despite AI-generated red carpet photos of them circulating online.","title":"How to Spot Fake Images of Real Celebrities, Concocted By AI | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Katy Perry’s Own Mom Fell for Her Met Gala AI Photo. Do You Know What to Look for?","datePublished":"2024-05-07T11:41:10-07:00","dateModified":"2024-05-07T11:41:10-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","status":"publish","templateType":"standard","nprStoryDate":"2024-05-07T10:33:30-04:00","excludeFromSiteSearch":"Include","nprLastModifiedDate":"2024-05-07T11:59:56-04:00","featuredImageType":"standard","nprHtmlLink":"https://www.npr.org/2024/05/07/1249570785/katy-perry-met-gala-deepfake","nprStoryId":"1249570785","nprByline":"Rachel Treisman, NPR","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","nprRetrievedStory":"1","nprPubDate":"2024-05-07T10:33:30-04:00","path":"/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the biggest names in music, entertainment and fashion assembled in New York City for Monday’s \u003ca href=\"https://www.kqed.org/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks\">“Garden of Time”-themed Met Gala\u003c/a>, decked out in flowers, sparkles and extravagant timepieces.\u003c/p>\n\u003cp>Contrary to the images circulating on social media, Katy Perry was not one of them.\u003c/p>\n\u003cp>“Couldn’t make it to the MET, had to work,” the singer \u003ca href=\"https://www.instagram.com/p/C6pivKUNWxQ/?img_index=5\">posted on Instagram\u003c/a>, alongside a video of herself singing in the studio — as well as two photos seemingly showing her at the gala.\u003c/p>\n\u003cp>They were actually made with AI.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787603212075233371"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the first, Perry appears to be standing on a hedge-lined red carpet at the Met, wearing an elaborate ball gown covered in flowers and butterflies, with her dark hair styled in long waves. In the second, a close-up shot, Perry is wearing a metallic corset top with a large key handle down the middle and a short skirt of flowers and leaves, her hair straight and tousled.\u003c/p>\n\u003cp>The photos — whose exact origin is unclear — made a splash on X (formerly known as Twitter) earlier in the night, as viewers at home refreshed their feeds and weighed in on their favorite celebrity fits.\u003c/p>\n\u003cp>One \u003ca href=\"https://x.com/jxries/status/1787603212075233371\">X post\u003c/a> of the ball gown photo had over 300,000 likes and nearly 70,000 reposts as of Tuesday morning — and a note at the bottom clarifying that it was created with AI. Another post, \u003ca href=\"https://x.com/wanthatoo/status/1787604418956754956\">of the corset outfit\u003c/a>, garnered over 100,000 likes and was eventually labeled “digitally created.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787604418956754956"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Perry is a regular Met Gala attendee (and famous for dressing on-theme, including as a \u003ca href=\"https://www.vogue.com/slideshow/katy-perry-best-met-gala-looks\">chandelier and hamburger\u003c/a> in recent years), so internet observers would be forgiven for assuming she was there on Monday.\u003c/p>\n\u003cp>Even Perry’s mom, Mary Hudson, thought so. One of the posts in the singer’s Instagram carousel was a screenshot of a text conversation between the two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957112","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Didn’t know you went to the Met,” her mom wrote. “What a gorgeous gown, you look like the Rose Parade, you are your own float lol.”\u003c/p>\n\u003cp>Perry was quick to clear things up.\u003c/p>\n\u003cp>“Lol mom the AI got you too,” she replied. “BEWARE!”\u003c/p>\n\u003cp>AI-generated images are increasingly easy to make, and celebrity deep fakes are increasingly prevalent — from sexually explicit \u003ca href=\"https://natlawreview.com/article/why-taylor-swift-ai-scandal-pushing-lawmakers-address-pornographic-deepfakes\">deep fakes of Taylor Swift\u003c/a> circulating earlier this year to \u003ca href=\"https://www.npr.org/2024/01/22/1226129926/nh-primary-biden-ai-robocall\">robocalls imitating President Biden\u003c/a> ahead of the New Hampshire primary.\u003c/p>\n\u003cp>In fact, Perry wasn’t the only star to be basically photoshopped onto the Met Gala red carpet: A viral X post claimed to show an elaborately dressed Rihanna in attendance, when she was actually home \u003ca href=\"https://www.eonline.com/news/1400722/why-rihanna-skipped-met-gala-2024-at-the-last-minute\">sick with the flu\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787618574564999346"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Another purported to show Lady Gaga, who hasn’t been there \u003ca href=\"https://www.kqed.org/arts/13856751/camp-lgbtq-celebs-shut-down-the-2019-met-gala\">since 2019\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1787608442116472883"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And before the gala, \u003ca href=\"https://x.com/duasmoker/status/1787606705380917712\">photos circulated of Dua Lipa\u003c/a> wearing bangs and a corset, only for her to show up on the carpet with crimson hair and an all-black ensemble — and for an X user to point out the early photos were from a \u003ca href=\"https://www.vogue.com/article/dua-lipa-demeanor-video-marie-antoinette\">2021 \u003cem>Vogue\u003c/em> shoot\u003c/a>.\u003c/p>\n\u003cp>While some social media users dismissed the Met Gala fakes as part of the fun, others see them as a worrisome sign of what could lie ahead.\u003c/p>\n\u003cp>Experts warn AI-generated deep fakes pose a threat to everything from \u003ca href=\"https://www.npr.org/2024/02/16/1232001889/ai-deepfakes-election-tech-accord\">election security\u003c/a> to \u003ca href=\"https://www.npr.org/2023/03/22/1165448073/voice-clones-ai-scams-ftc\">everyday scams\u003c/a>. And just last month, more than 200 artists — including Perry herself — \u003ca href=\"https://artistrightsnow.medium.com/200-artists-urge-tech-platforms-stop-devaluing-music-559fb109bbac\">signed a letter\u003c/a> urging tech platforms and digital music services to stop using AI to “infringe upon and devalue the rights of human artists.”\u003c/p>\n\u003ch3>How to tell if an image is fake (or at least suspicious)\u003c/h3>\n\u003cp>So what clues should Mary Hudson — and other discerning viewers — be looking for to spot potential fakes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sam Gregory of the nonprofit Witness, which helps people use video and technology to protect human rights, encourages viewers to rely on context and intuition in situations like this one.\u003c/p>\n\u003cp>“My starting point with all images like [Perry’s] is to not trust the online detectors as there are too many variables around whether they give an accurate result,” he explained over email.\u003c/p>\n\u003cp>He said when he ran both Perry images through a widely-used detector, the flower dress came back as “likely human” and the corset as “likely AI generated.” He also discourages people from looking for visual clues in these kinds of images, saying that can “lead down a rabbit hole of unproductive forensic skepticism.”\u003c/p>\n\u003cp>With a high-profile event like the Met Gala, Gregory says, it’s best to use “classic media literacy and verification approaches.” In this case, that could mean looking for more proof of Perry’s attendance, from a variety of sources.\u003c/p>\n\u003cp>“Although some media literacy strategies like checking the source might lead us astray — perhaps we do trust Katy Perry to share real images of herself — if we use another strategy and look for other images from the same event from reliable sources, we’d quickly see this isn’t real,” he explained.\u003c/p>\n\u003cp>He adds that it reminds him of the AI-created images of a \u003ca href=\"https://www.npr.org/2023/05/22/1177590231/fake-viral-images-of-an-explosion-at-the-pentagon-were-probably-created-by-ai\">fire at the Pentagon\u003c/a> that went viral last year. In both cases, he says, the first question people should ask themselves is not whether they can spot the AI glitches in the photo, but “Why aren’t there other photos and videos of this event in a highly populated area?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932477","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the bigger question, as Gregory sees it, is whether the public should be expected to do this at all.\u003c/p>\n\u003cp>“Why wouldn’t Katy Perry be at the Met Gala and why would we second-guess that, particularly if she’s part of the deception?” he says.\u003c/p>\n\u003cp>More help may be coming from social media platforms, amid growing concerns about the potential for AI to mislead users. Meta said earlier this year that it would start \u003ca href=\"https://www.npr.org/2024/02/06/1229317971/meta-labeling-ai-generated-images-instagram-facebook-artificial-intelligence\">labeling AI-generated images\u003c/a> on Facebook, Instagram and Threads, \u003ca href=\"https://about.fb.com/news/2024/04/metas-approach-to-labeling-ai-generated-content-and-manipulated-media/\">beginning in May\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for now — and as always — keeping your guard up is key. If you need some more pointers, check out these expert tips on how to spot \u003ca href=\"https://www.npr.org/2023/06/07/1180768459/how-to-identify-ai-generated-deepfake-images\">AI-generated images\u003c/a> and \u003ca href=\"https://www.npr.org/2024/04/01/1241657867/april-fools-day-online-misinformation\">avoid getting tricked online\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957370/katy-perry-met-gala-2024-ai-photo-viral-fake-fashion","authors":["byline_arts_13957370"],"categories":["arts_1","arts_76","arts_69","arts_75"],"tags":["arts_22039","arts_11323","arts_22131","arts_1935"],"affiliates":["arts_137"],"featImg":"arts_13957371","label":"arts_137"},"arts_13957350":{"type":"posts","id":"arts_13957350","meta":{"index":"posts_1716263798","site":"arts","id":"13957350","score":null,"sort":[1715101966000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1715101966,"format":"standard","title":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","headTitle":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway | KQED","content":"\u003cp>In mid-April, young designers at three San Francisco schools were busy ripping out seams, running their purring sewing machines and organizing their models. They were in the final weeks before the city’s unofficial fashion week (May 9–16), and it was crunch time at San Francisco State University, California College of the Arts and Academy of Art University.\u003c/p>\n\u003cp>Andre Aberin, 23, was hunched over a pair of two-toned workwear pants in a room lined with half-clothed mannequins at SFSU on a Wednesday night. “My collection is based upon my love for video games and everything science fiction and also utilitarian wear,” he said.\u003c/p>\n\u003cp>Elsewhere in San Francisco, Pamela Alcala, 22, was sorting through a rack of colorful crocheted wool garments at CCA. “My collection is a menswear take on my grandmother,” she said. “It’s about the appreciation for hand-crafting and playfulness and oversized garments.”\u003c/p>\n\u003cp>At Academy of Art, Haydee Quesedo was fitting her model into a flamenco-inspired ruffled denim skirt as other designers and instructors bustled around the studio with sewing needles between their lips. While most of her fellow designers have five or six looks, Quesedo is aiming for 12.\u003c/p>\n\u003cp>“I work here in the studio from 8 a.m. to 8 p.m., eat, sleep and come back,” she laughed. Quesado’s flamenco denim is just one of the looks that will debut on three different runways from fashion students at CCA, SFSU and Academy of Art University, which have a mixture of undergraduate and graduate design programs showcasing their work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Designers like Academy of Art student Jagmehak have been at their studios all day, every day for weeks now. On a recent Thursday afternoon, Jagmehak was sorting through folds of deep fuchsia silk that she’d sourced from India and custom dyed to her desired hue.\u003c/p>\n\u003cp>The runway shows mark the culmination of the designers’ studies and offer audiences (and fashion lovers) a glimpse at what the next generation has in store for our closets. Based on their mood boards and mannequins, we can expect playful color combos, deconstructed menswear and immaculate craftsmanship.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The San Francisco State University fashion show, PULSE Runway 2024, takes place May 9, 6–8:30 p.m. at 1 N State Dr., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/pulse-runway-2024-tickets-859110732327\">SFSU event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The California College of the Arts fashion show takes place May 10, 2024, 5–8 p.m. at 1111 8th St., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/spring-2024-architecture-and-design-end-of-year-thesis-show-tickets-873511114257?aff=oddtdtcreator\">CCA event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Academy of Art University fashion show takes place May 16, 2025 at 3 p.m. at 1849 Washington St., San Francisco. Find tickets to the \u003ca href=\"https://www.academyart.edu/2024-graduation-fashion-show-event/\">Academy of Art event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stay tuned for reviews of the three runway shows as a part of \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">Fit Check\u003c/a>, a series about style and personal expression in the Bay Area.\u003c/i>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":491,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":13},"modified":1715108350,"excerpt":"Designers from three San Francisco fashion programs will debut dozens of new collections May 9–16.","headData":{"twImgId":"","twTitle":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","socialTitle":"An Unofficial Fashion Week Hits the Runway at SF Colleges %%page%% %%sep%% KQED","ogTitle":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","ogImgId":"","twDescription":"","description":"Designers from three San Francisco fashion programs will debut dozens of new collections May 9–16.","title":"An Unofficial Fashion Week Hits the Runway at SF Colleges | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco’s Unofficial Fashion Week Is About to Hit the Runway","datePublished":"2024-05-07T10:12:46-07:00","dateModified":"2024-05-07T11:59:10-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13957350","path":"/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In mid-April, young designers at three San Francisco schools were busy ripping out seams, running their purring sewing machines and organizing their models. They were in the final weeks before the city’s unofficial fashion week (May 9–16), and it was crunch time at San Francisco State University, California College of the Arts and Academy of Art University.\u003c/p>\n\u003cp>Andre Aberin, 23, was hunched over a pair of two-toned workwear pants in a room lined with half-clothed mannequins at SFSU on a Wednesday night. “My collection is based upon my love for video games and everything science fiction and also utilitarian wear,” he said.\u003c/p>\n\u003cp>Elsewhere in San Francisco, Pamela Alcala, 22, was sorting through a rack of colorful crocheted wool garments at CCA. “My collection is a menswear take on my grandmother,” she said. “It’s about the appreciation for hand-crafting and playfulness and oversized garments.”\u003c/p>\n\u003cp>At Academy of Art, Haydee Quesedo was fitting her model into a flamenco-inspired ruffled denim skirt as other designers and instructors bustled around the studio with sewing needles between their lips. While most of her fellow designers have five or six looks, Quesedo is aiming for 12.\u003c/p>\n\u003cp>“I work here in the studio from 8 a.m. to 8 p.m., eat, sleep and come back,” she laughed. Quesado’s flamenco denim is just one of the looks that will debut on three different runways from fashion students at CCA, SFSU and Academy of Art University, which have a mixture of undergraduate and graduate design programs showcasing their work. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Designers like Academy of Art student Jagmehak have been at their studios all day, every day for weeks now. On a recent Thursday afternoon, Jagmehak was sorting through folds of deep fuchsia silk that she’d sourced from India and custom dyed to her desired hue.\u003c/p>\n\u003cp>The runway shows mark the culmination of the designers’ studies and offer audiences (and fashion lovers) a glimpse at what the next generation has in store for our closets. Based on their mood boards and mannequins, we can expect playful color combos, deconstructed menswear and immaculate craftsmanship.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The San Francisco State University fashion show, PULSE Runway 2024, takes place May 9, 6–8:30 p.m. at 1 N State Dr., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/pulse-runway-2024-tickets-859110732327\">SFSU event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The California College of the Arts fashion show takes place May 10, 2024, 5–8 p.m. at 1111 8th St., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/spring-2024-architecture-and-design-end-of-year-thesis-show-tickets-873511114257?aff=oddtdtcreator\">CCA event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Academy of Art University fashion show takes place May 16, 2025 at 3 p.m. at 1849 Washington St., San Francisco. Find tickets to the \u003ca href=\"https://www.academyart.edu/2024-graduation-fashion-show-event/\">Academy of Art event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stay tuned for reviews of the three runway shows as a part of \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">Fit Check\u003c/a>, a series about style and personal expression in the Bay Area.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_76"],"tags":["arts_1696","arts_10278","arts_21953","arts_585"],"featImg":"arts_13957356","label":"arts_140"},"arts_13957112":{"type":"posts","id":"arts_13957112","meta":{"index":"posts_1716263798","site":"arts","id":"13957112","score":null,"sort":[1714692547000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1714692547,"format":"standard","title":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","headTitle":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet | KQED","content":"\u003cp>Aaah, Zendaya. Oakland-born goddess. Desert warrior of \u003cem>Dune\u003c/em>. Marvel mistress. Disney star. Dazzling denizen of red carpets everywhere. All this, and on May 6, Zendaya is stepping out in a brand new role: co-chair of the \u003ca href=\"https://www.kqed.org/arts/tag/met-gala\">Met Gala\u003c/a>.\u003c/p>\n\u003cp>What does a Met Gala co-chair do exactly? Well, basically, it means you’re hand-picked by (let’s be real) scary \u003cem>Vogue\u003c/em> editor Anna Wintour to help make decisions about the gala’s theme (\u003cem>Sleeping Beauties: Reawakening Fashion\u003c/em>), dinner and performers. This year, Zendaya was selected along with J.Lo, Bad Bunny and Chris Hemsworth for the job. And sure, OK, we might be a teeny bit biased, but if this red carpet is a contest (and we all know that it is), Zendaya is going to win the night.\u003c/p>\n\u003cp>How do we know? The following 5 reasons.\u003c/p>\n\u003ch2>1. Zendaya at the 2019 Met Gala\u003c/h2>\n\u003cp>The last time Zendaya attended the Met Gala, she did a literal magic trick on the red carpet. The theme that year was \u003cem>Camp: Notes on Fashion\u003c/em>. She teamed up with Tommy Hilfiger to come up with this light-up Cinderella moment, which nods to her beginnings as a Disney Channel child star.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iJEUt0w1B94\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If Zendaya did this for \u003cem>Camp\u003c/em>, just think what she’s going to do as host for \u003cem>Sleeping Beauties\u003c/em>. More ethereal glory awaits!\u003c/p>\n\u003ch2>2. Zendaya at the 2018 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957126\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957126\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-955770278-scaled-e1714682523213.jpg\" alt=\"A beautiful young woman with a red bob stands on a white carpet surrounded by photographers, wearing a dress made of chainmail and armor.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2018 Met Gala, just Joan of Arc-ing it up. \u003ccite>(Neilson Barnard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme of the 2018 Met Gala was \u003cem>Heavenly Bodies: Fashion & The Catholic Imagination\u003c/em>. Kim Kardashian showed up in a gold gown with a cross stuck on the hip. Katy Perry wore a gold gown with giant wings attached. Sarah Jessica Parker donned a gold gown with a miniature chapel on her head. Cardi B accessorized her gold gown with a halo thing on her face. Then Zendaya rolled up like, “Hold my sword, chumps,” in this nod to Joan of Arc badassery. Combining strength and elegance has never looked so cool.\u003c/p>\n\u003ch2>3. Zendaya at the 2017 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-677358932-scaled-e1714683330678.jpg\" alt=\"A young Black woman with natural hair stands at the foot of a staircase wearing a red and orange off the shoulder gown featuring a bold pattern including parrots. \" width=\"1920\" height=\"1680\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2017 Met Gala. \u003ccite>(Karwai Tang/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In honor of 2017’s \u003cem>Rei Kawakubo/Comme des Garçons: Art Of The In-Between \u003c/em>theme, Zendaya showed up on the Met Gala steps wearing a Dolce & Gabbana parrot-themed gown and — more importantly — her hair in a beautiful, exaggerated afro. That style choice was made just two years after Guiliana Rancic had said the actress’ dreadlocks at the 2015 Academy Awards made her look like she “\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">smells like patchouli oil or weed\u003c/a>.”\u003c/p>\n\u003cp>[aside postid='arts_13928464']In a since-removed post on Instagram, Zendaya responded to Rancic, noting: “I was hit with ignorant slurs and pure disrespect … To say that an 18-year-old young woman with locs must smell of patchouli oil or ‘weed’ is not only a large stereotype but outrageously offensive. I don’t usually feel the need to respond to negative things but certain remarks cannot go unchecked.”\u003c/p>\n\u003cp>There can be little doubt that this 2017 Met Gala hair moment was a middle finger to fashion white supremacy — and it was glorious.\u003c/p>\n\u003ch2>4. Zendaya at the 2016 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957137\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg\" alt=\"A young, slender Black woman stands on a white and red carpet wearing a form-fitting, one-shouldered gold gown and sleek bowl hairstyle.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2016 Met Gala. \u003ccite>(Taylor Hill/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme was \u003cem>Manus x Machina: Fashion in an Age of Technology.\u003c/em> Zendaya channeled Alicia Vikander in \u003cem>Ex Machina\u003c/em> but made it high fashion. In the process, she reminded us that Michael Kors still occasionally makes genuinely cool clothing — a feat even more spectacular than making helmet hair seem like a good idea.\u003c/p>\n\u003ch2>5. Zendaya at every ‘Challengers’ promo\u003c/h2>\n\u003cfigure id=\"attachment_13957162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tennis-z-scaled-e1714689329514.jpg\" alt=\"Three separate images of a young, slender Black woman wearing sleek dresses.\" width=\"1920\" height=\"1436\">\u003cfigcaption class=\"wp-caption-text\">Zendaya promoting her 2024 film ‘Challengers’ in (left to right) London, Los Angeles and Italy. \u003ccite>((L) Mike Marsland/ WireImage; (C) Eric Charbonneau/ Getty Images for Amazon MGM Studios; (R) Marilla Sicilia/ Archivio Marilla Sicilia/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do you make tennis sexy? Aside from having Luca Guadagnino make \u003ca href=\"https://www.kqed.org/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist\">a movie about three very hot young people\u003c/a> doing an \u003ca href=\"https://www.kqed.org/arts/13957096/challengers-throuple-zendaya-polyamorous-couple\">unethical throuple\u003c/a> between bouts of sweaty on-the-court action? Zendaya has been offering a masterclass for months now, as she promotes that movie — \u003cem>Challengers\u003c/em> — in a series of outfits that nod to the demure formalwear tennis prides itself on and making it, well, kinda slutty. Game, set, match, lady. Game, set, match.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can watch Zendaya — and everyone else, I guess — arrive at the Met Gala on May 6, 2024. Cable subscribers can see the action live on \u003ca href=\"https://www.eonline.com/news/1399387/how-to-watch-the-2024-met-gala-and-live-from-e-on-tv-and-online\">E! starting at 6 p.m.\u003c/a>, while everyone else can catch it on \u003ca href=\"https://www.vogue.com/article/watch-met-gala-live-stream-2023\">Vogue’s livestream\u003c/a>, starting at 3 p.m.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":800,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":14},"modified":1714693205,"excerpt":"Want to see Zendaya outshine everyone else at this year's Met Gala? Here's how.","headData":{"twImgId":"","twTitle":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","socialTitle":"Where to Livestream the 2024 Met Gala, Co-Hosted by Zendaya %%page%% %%sep%% KQED","ogTitle":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","ogImgId":"","twDescription":"","description":"Want to see Zendaya outshine everyone else at this year's Met Gala? Here's how.","title":"Where to Livestream the 2024 Met Gala, Co-Hosted by Zendaya | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How to Watch Zendaya Win the 2024 Met Gala Red Carpet","datePublished":"2024-05-02T16:29:07-07:00","dateModified":"2024-05-02T16:40:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13957112","path":"/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aaah, Zendaya. Oakland-born goddess. Desert warrior of \u003cem>Dune\u003c/em>. Marvel mistress. Disney star. Dazzling denizen of red carpets everywhere. All this, and on May 6, Zendaya is stepping out in a brand new role: co-chair of the \u003ca href=\"https://www.kqed.org/arts/tag/met-gala\">Met Gala\u003c/a>.\u003c/p>\n\u003cp>What does a Met Gala co-chair do exactly? Well, basically, it means you’re hand-picked by (let’s be real) scary \u003cem>Vogue\u003c/em> editor Anna Wintour to help make decisions about the gala’s theme (\u003cem>Sleeping Beauties: Reawakening Fashion\u003c/em>), dinner and performers. This year, Zendaya was selected along with J.Lo, Bad Bunny and Chris Hemsworth for the job. And sure, OK, we might be a teeny bit biased, but if this red carpet is a contest (and we all know that it is), Zendaya is going to win the night.\u003c/p>\n\u003cp>How do we know? The following 5 reasons.\u003c/p>\n\u003ch2>1. Zendaya at the 2019 Met Gala\u003c/h2>\n\u003cp>The last time Zendaya attended the Met Gala, she did a literal magic trick on the red carpet. The theme that year was \u003cem>Camp: Notes on Fashion\u003c/em>. She teamed up with Tommy Hilfiger to come up with this light-up Cinderella moment, which nods to her beginnings as a Disney Channel child star.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iJEUt0w1B94'\n title='//www.youtube.com/embed/iJEUt0w1B94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If Zendaya did this for \u003cem>Camp\u003c/em>, just think what she’s going to do as host for \u003cem>Sleeping Beauties\u003c/em>. More ethereal glory awaits!\u003c/p>\n\u003ch2>2. Zendaya at the 2018 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957126\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957126\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-955770278-scaled-e1714682523213.jpg\" alt=\"A beautiful young woman with a red bob stands on a white carpet surrounded by photographers, wearing a dress made of chainmail and armor.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2018 Met Gala, just Joan of Arc-ing it up. \u003ccite>(Neilson Barnard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme of the 2018 Met Gala was \u003cem>Heavenly Bodies: Fashion & The Catholic Imagination\u003c/em>. Kim Kardashian showed up in a gold gown with a cross stuck on the hip. Katy Perry wore a gold gown with giant wings attached. Sarah Jessica Parker donned a gold gown with a miniature chapel on her head. Cardi B accessorized her gold gown with a halo thing on her face. Then Zendaya rolled up like, “Hold my sword, chumps,” in this nod to Joan of Arc badassery. Combining strength and elegance has never looked so cool.\u003c/p>\n\u003ch2>3. Zendaya at the 2017 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-677358932-scaled-e1714683330678.jpg\" alt=\"A young Black woman with natural hair stands at the foot of a staircase wearing a red and orange off the shoulder gown featuring a bold pattern including parrots. \" width=\"1920\" height=\"1680\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2017 Met Gala. \u003ccite>(Karwai Tang/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In honor of 2017’s \u003cem>Rei Kawakubo/Comme des Garçons: Art Of The In-Between \u003c/em>theme, Zendaya showed up on the Met Gala steps wearing a Dolce & Gabbana parrot-themed gown and — more importantly — her hair in a beautiful, exaggerated afro. That style choice was made just two years after Guiliana Rancic had said the actress’ dreadlocks at the 2015 Academy Awards made her look like she “\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">smells like patchouli oil or weed\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928464","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In a since-removed post on Instagram, Zendaya responded to Rancic, noting: “I was hit with ignorant slurs and pure disrespect … To say that an 18-year-old young woman with locs must smell of patchouli oil or ‘weed’ is not only a large stereotype but outrageously offensive. I don’t usually feel the need to respond to negative things but certain remarks cannot go unchecked.”\u003c/p>\n\u003cp>There can be little doubt that this 2017 Met Gala hair moment was a middle finger to fashion white supremacy — and it was glorious.\u003c/p>\n\u003ch2>4. Zendaya at the 2016 Met Gala\u003c/h2>\n\u003cfigure id=\"attachment_13957137\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg\" alt=\"A young, slender Black woman stands on a white and red carpet wearing a form-fitting, one-shouldered gold gown and sleek bowl hairstyle.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-527575338-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya at the 2016 Met Gala. \u003ccite>(Taylor Hill/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theme was \u003cem>Manus x Machina: Fashion in an Age of Technology.\u003c/em> Zendaya channeled Alicia Vikander in \u003cem>Ex Machina\u003c/em> but made it high fashion. In the process, she reminded us that Michael Kors still occasionally makes genuinely cool clothing — a feat even more spectacular than making helmet hair seem like a good idea.\u003c/p>\n\u003ch2>5. Zendaya at every ‘Challengers’ promo\u003c/h2>\n\u003cfigure id=\"attachment_13957162\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957162\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/tennis-z-scaled-e1714689329514.jpg\" alt=\"Three separate images of a young, slender Black woman wearing sleek dresses.\" width=\"1920\" height=\"1436\">\u003cfigcaption class=\"wp-caption-text\">Zendaya promoting her 2024 film ‘Challengers’ in (left to right) London, Los Angeles and Italy. \u003ccite>((L) Mike Marsland/ WireImage; (C) Eric Charbonneau/ Getty Images for Amazon MGM Studios; (R) Marilla Sicilia/ Archivio Marilla Sicilia/ Mondadori Portfolio via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do you make tennis sexy? Aside from having Luca Guadagnino make \u003ca href=\"https://www.kqed.org/arts/13956512/chellengers-review-zendaya-stylish-tennis-drama-josh-oconnor-mike-faist\">a movie about three very hot young people\u003c/a> doing an \u003ca href=\"https://www.kqed.org/arts/13957096/challengers-throuple-zendaya-polyamorous-couple\">unethical throuple\u003c/a> between bouts of sweaty on-the-court action? Zendaya has been offering a masterclass for months now, as she promotes that movie — \u003cem>Challengers\u003c/em> — in a series of outfits that nod to the demure formalwear tennis prides itself on and making it, well, kinda slutty. Game, set, match, lady. Game, set, match.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can watch Zendaya — and everyone else, I guess — arrive at the Met Gala on May 6, 2024. Cable subscribers can see the action live on \u003ca href=\"https://www.eonline.com/news/1399387/how-to-watch-the-2024-met-gala-and-live-from-e-on-tv-and-online\">E! starting at 6 p.m.\u003c/a>, while everyone else can catch it on \u003ca href=\"https://www.vogue.com/article/watch-met-gala-live-stream-2023\">Vogue’s livestream\u003c/a>, starting at 3 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957112/where-to-watch-met-gala-2024-zendaya-best-red-carpet-looks","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_75","arts_990"],"tags":["arts_10278","arts_22131","arts_22130","arts_585","arts_21968"],"featImg":"arts_13957168","label":"arts_140"},"arts_13956979":{"type":"posts","id":"arts_13956979","meta":{"index":"posts_1716263798","site":"arts","id":"13956979","score":null,"sort":[1714670010000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1714670010,"format":"standard","title":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","headTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED","content":"\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":979,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":19},"modified":1715815294,"excerpt":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","headData":{"twImgId":"","twTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","socialTitle":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways %%page%% %%sep%% KQED","ogTitle":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","ogImgId":"","twDescription":"","description":"Elegant design, strange stereos and hundreds of music posters make up this scattershot but fun exhibition.","title":"Review: ‘Art of Noise’ at SFMOMA Explores Our Weird Musical Ways | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music","datePublished":"2024-05-02T10:13:30-07:00","dateModified":"2024-05-15T16:21:34-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"art-of-noise-sfmoma-music-fillmore-stereo-review","status":"publish","templateType":"standard","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7e63983b-66ec-40b8-8745-b16b0174d4eb/audio.mp3","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13956979","path":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13414955","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956979/art-of-noise-sfmoma-music-fillmore-stereo-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_76","arts_69","arts_235","arts_70"],"tags":["arts_10278","arts_1806","arts_831","arts_1420","arts_769","arts_22122","arts_1146","arts_1381","arts_585"],"featImg":"arts_13957027","label":"arts_140"},"arts_13956994":{"type":"posts","id":"arts_13956994","meta":{"index":"posts_1716263798","site":"arts","id":"13956994","score":null,"sort":[1714604072000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1714604072,"format":"standard","title":"On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality","headTitle":"On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality | KQED","content":"\u003cp>On \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok, Katie Winnen\u003c/a>’s 275,000-plus followers look to her for budget-friendly tips on how to accessorize a first-date outfit or find jeans for different plus-size body types.\u003c/p>\n\u003cp>Fittingly, her name lends itself to a positive affirmation that is her social handle (\u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">@katieiswinnen\u003c/a>). Originally from the Peninsula, the Oakland-based influencer describes her out-loud style as grandma glam — think chunky sweaters, bold graphic tees and maximalist accessories interspersed with timeless basics. With her big smile and pink hair, she exudes a genuine confidence, and rejects toxic notions from her upbringing in the 1990s and 2000s, when thinness was considered the “ultimate accessory.”\u003c/p>\n\u003cfigure id=\"attachment_13957005\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Bold graphic tees and accessories are a staple of Katie Winnen’s style. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Winnen, personal style reinforces a sense of self. “[Fashion] feels like such a fun way to explore how I show up in the world, and how we can express who we are to other people,” she tells KQED. “Whether we want to communicate things like our creativity or profession, there are so many things you can showcase through your style and what you wear.”\u003c/p>\n\u003cp>Though the \u003ca href=\"https://www.kqed.org/forum/2010101891829/evette-dionne-takes-on-fatphobia-in-weightless\">body positivity and body neutrality\u003c/a> movements have made strides in recent years, size-inclusive fashion still has a long way to go when it comes to availability, fit and style. Winnen says a lot of advice for plus-size women is outdated, focusing on hiding body parts rather than highlighting personality. That’s why, beyond the basic tips like seasonal guides or finding the right concert look, Winnen sees an overall need for a supportive environment for plus-sized people.\u003c/p>\n\u003ch2>Self-confidence first, clothes second\u003c/h2>\n\u003cp>Winnen started her fashion journey by looking inward — and not just into her closet. Her career rise has mirrored her quest to wholeheartedly accept herself. It all stems from a mental reframe Winnen puts this way: “Maybe my body isn’t the problem. Maybe people who have a problem with my body are a problem.”\u003c/p>\n\u003cfigure id=\"attachment_13957003\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg\" alt=\"A stylist with pink hair lifts up a lime green top from her clothing rack.\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says there’s a need for more plus-size fashion content. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to becoming a full-time TikTok creator in 2023, Winnen had been contributing to the platform for three years with some momentum. Her 30-day outfit challenge racked up 1.4 million views on one video alone, and accelerated everything. When she lost her day job upon moving to the East Bay, she made a gamble to turn plus-size content into her career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I never had any intention to be an influencer. … I don’t like to be the center of attention,” says Winnen, laughing. “Having a lot of focus on me has always felt a little like — I’ve had to adjust to that. It was never something that I sought out, so when it started to happen, I was definitely surprised that people were connecting with me specifically.”\u003c/p>\n\u003cp>She wasn’t surprised, however, that they related to her message of self-acceptance and -expression. Plus-sized women are an underserved group. And though they make up \u003ca href=\"https://www.cnn.com/style/plus-size-fashion-brands-trends-body-positivity/index.html\">nearly 70% of U.S. women\u003c/a>, most mainstream brands fail to cater to them.\u003c/p>\n\u003cp>Winnen loves the creativity and joy in fashion, and for that reason she works to make fashion accessible to an audience dealing with \u003ca href=\"https://www.theguardian.com/commentisfree/2024/jan/12/prejudices-fatphobia-society-size-bodies\">fatphobic social stigma\u003c/a>. “Even if I get to the best place possible [with my body image], I’m still going to exist in a fatphobic society that’s going to make living in a larger body really hard,” says Winnen. “Understanding that was a reality helped me get further in having a positive relationship with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13957004\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg\" alt=\"\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen decided to become a full-time content creator and stylist in 2023. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her videos, she spotlights small businesses that serve the plus-sized community, plays with fun concepts like astrology-based fashion and connects with clients one-on-one as a personal stylist.\u003c/p>\n\u003cp>Her savvy comes from experience in different levels of the fashion industry: She worked retail, got merchandising and design degrees from the Fashion Institute of Technology in New York and San Francisco State University, and worked for a plus-size ecommerce company before it folded.\u003c/p>\n\u003cp>“I don’t think people are just born with the ability to be stylish,” says Winnen. “It might come easier to some people, but I think for the most part, it’s just something you put time and energy into.”\u003c/p>\n\u003ch2>Breaking through size stigmas\u003c/h2>\n\u003cp>On social media, Winnen has found a positive feedback loop of encouragement and knowledge sharing. She credits other creators in the plus-sized community for breaking down concepts such as fat liberation and fat bias in straightforward ways. Local collective \u003ca href=\"https://www.instagram.com/fat_brunch/\">Fat Brunch\u003c/a> and creator \u003ca href=\"https://www.instagram.com/fiercefatfemme/?hl=en\">Fierce Fat Femme\u003c/a> come to mind when Winnen shouts out fellow Bay Area creators that take up space proudly.\u003c/p>\n\u003cfigure id=\"attachment_13957007\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says she’s found a supportive community of plus-size creators online. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She learned from other creators how to defend oneself from fatphobic comments (especially as a non-confrontational person). In turn, she’s offered resources on navigating dismissive or callous medical visits, to which she got an overwhelming response of people realizing they are not alone.\u003c/p>\n\u003cp>Winnen’s work has national and even global reach. A sizable portion of her audience is in Texas. When she worked remotely for a company based in Armenia, she was shocked to find out a colleague in Yerevan was already a fan.\u003c/p>\n\u003cp>“There’s a lot the industry has to shift and change,” says Winnen. “I feel hopeful we can get there, but in the meantime it’s really challenging.”\u003c/p>\n\u003cp>Winnen acknowledges that plus-size fashion intersects with evolving conversations around mental health, disability and accessibility. “I think in general, when we talk about inclusivity, size is usually left out,” says Winnen. “I think being fatphobic is very accepted still in a majority of places, even in progressive, inclusive places like the Bay Area.”\u003c/p>\n\u003cp>Her videos are her way of working towards a more accepting world. And when it comes to fashion, she reminds us that a little compliment goes a long way.\u003c/p>\n\u003cp>“If you see a plus-sized person in a great outfit, just know that they had to work so hard to make that happen,” she says. “I’m always blown away by the creativity and ability that these other creators have to make things work when you’re not given very much in the first place.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Katie Winnen is on \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok\u003c/a> and \u003ca href=\"https://www.instagram.com/katieiswinnen/\">Instagram.\u003c/a>\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1134,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":22},"modified":1714604072,"excerpt":"The Oakland-based creator makes affirming content, and fights stigma with style. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Oakland-based creator makes affirming content, and fights stigma with style. ","title":"On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality","datePublished":"2024-05-01T15:54:32-07:00","dateModified":"2024-05-01T15:54:32-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"katie-winnen-tiktok-plus-size-fashion","status":"publish","templateType":"standard","nprByline":"Danny Acosta","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","nprStoryId":"kqed-13956994","path":"/arts/13956994/katie-winnen-tiktok-plus-size-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok, Katie Winnen\u003c/a>’s 275,000-plus followers look to her for budget-friendly tips on how to accessorize a first-date outfit or find jeans for different plus-size body types.\u003c/p>\n\u003cp>Fittingly, her name lends itself to a positive affirmation that is her social handle (\u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">@katieiswinnen\u003c/a>). Originally from the Peninsula, the Oakland-based influencer describes her out-loud style as grandma glam — think chunky sweaters, bold graphic tees and maximalist accessories interspersed with timeless basics. With her big smile and pink hair, she exudes a genuine confidence, and rejects toxic notions from her upbringing in the 1990s and 2000s, when thinness was considered the “ultimate accessory.”\u003c/p>\n\u003cfigure id=\"attachment_13957005\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Bold graphic tees and accessories are a staple of Katie Winnen’s style. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Winnen, personal style reinforces a sense of self. “[Fashion] feels like such a fun way to explore how I show up in the world, and how we can express who we are to other people,” she tells KQED. “Whether we want to communicate things like our creativity or profession, there are so many things you can showcase through your style and what you wear.”\u003c/p>\n\u003cp>Though the \u003ca href=\"https://www.kqed.org/forum/2010101891829/evette-dionne-takes-on-fatphobia-in-weightless\">body positivity and body neutrality\u003c/a> movements have made strides in recent years, size-inclusive fashion still has a long way to go when it comes to availability, fit and style. Winnen says a lot of advice for plus-size women is outdated, focusing on hiding body parts rather than highlighting personality. That’s why, beyond the basic tips like seasonal guides or finding the right concert look, Winnen sees an overall need for a supportive environment for plus-sized people.\u003c/p>\n\u003ch2>Self-confidence first, clothes second\u003c/h2>\n\u003cp>Winnen started her fashion journey by looking inward — and not just into her closet. Her career rise has mirrored her quest to wholeheartedly accept herself. It all stems from a mental reframe Winnen puts this way: “Maybe my body isn’t the problem. Maybe people who have a problem with my body are a problem.”\u003c/p>\n\u003cfigure id=\"attachment_13957003\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg\" alt=\"A stylist with pink hair lifts up a lime green top from her clothing rack.\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says there’s a need for more plus-size fashion content. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to becoming a full-time TikTok creator in 2023, Winnen had been contributing to the platform for three years with some momentum. Her 30-day outfit challenge racked up 1.4 million views on one video alone, and accelerated everything. When she lost her day job upon moving to the East Bay, she made a gamble to turn plus-size content into her career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I never had any intention to be an influencer. … I don’t like to be the center of attention,” says Winnen, laughing. “Having a lot of focus on me has always felt a little like — I’ve had to adjust to that. It was never something that I sought out, so when it started to happen, I was definitely surprised that people were connecting with me specifically.”\u003c/p>\n\u003cp>She wasn’t surprised, however, that they related to her message of self-acceptance and -expression. Plus-sized women are an underserved group. And though they make up \u003ca href=\"https://www.cnn.com/style/plus-size-fashion-brands-trends-body-positivity/index.html\">nearly 70% of U.S. women\u003c/a>, most mainstream brands fail to cater to them.\u003c/p>\n\u003cp>Winnen loves the creativity and joy in fashion, and for that reason she works to make fashion accessible to an audience dealing with \u003ca href=\"https://www.theguardian.com/commentisfree/2024/jan/12/prejudices-fatphobia-society-size-bodies\">fatphobic social stigma\u003c/a>. “Even if I get to the best place possible [with my body image], I’m still going to exist in a fatphobic society that’s going to make living in a larger body really hard,” says Winnen. “Understanding that was a reality helped me get further in having a positive relationship with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13957004\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg\" alt=\"\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen decided to become a full-time content creator and stylist in 2023. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her videos, she spotlights small businesses that serve the plus-sized community, plays with fun concepts like astrology-based fashion and connects with clients one-on-one as a personal stylist.\u003c/p>\n\u003cp>Her savvy comes from experience in different levels of the fashion industry: She worked retail, got merchandising and design degrees from the Fashion Institute of Technology in New York and San Francisco State University, and worked for a plus-size ecommerce company before it folded.\u003c/p>\n\u003cp>“I don’t think people are just born with the ability to be stylish,” says Winnen. “It might come easier to some people, but I think for the most part, it’s just something you put time and energy into.”\u003c/p>\n\u003ch2>Breaking through size stigmas\u003c/h2>\n\u003cp>On social media, Winnen has found a positive feedback loop of encouragement and knowledge sharing. She credits other creators in the plus-sized community for breaking down concepts such as fat liberation and fat bias in straightforward ways. Local collective \u003ca href=\"https://www.instagram.com/fat_brunch/\">Fat Brunch\u003c/a> and creator \u003ca href=\"https://www.instagram.com/fiercefatfemme/?hl=en\">Fierce Fat Femme\u003c/a> come to mind when Winnen shouts out fellow Bay Area creators that take up space proudly.\u003c/p>\n\u003cfigure id=\"attachment_13957007\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says she’s found a supportive community of plus-size creators online. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She learned from other creators how to defend oneself from fatphobic comments (especially as a non-confrontational person). In turn, she’s offered resources on navigating dismissive or callous medical visits, to which she got an overwhelming response of people realizing they are not alone.\u003c/p>\n\u003cp>Winnen’s work has national and even global reach. A sizable portion of her audience is in Texas. When she worked remotely for a company based in Armenia, she was shocked to find out a colleague in Yerevan was already a fan.\u003c/p>\n\u003cp>“There’s a lot the industry has to shift and change,” says Winnen. “I feel hopeful we can get there, but in the meantime it’s really challenging.”\u003c/p>\n\u003cp>Winnen acknowledges that plus-size fashion intersects with evolving conversations around mental health, disability and accessibility. “I think in general, when we talk about inclusivity, size is usually left out,” says Winnen. “I think being fatphobic is very accepted still in a majority of places, even in progressive, inclusive places like the Bay Area.”\u003c/p>\n\u003cp>Her videos are her way of working towards a more accepting world. And when it comes to fashion, she reminds us that a little compliment goes a long way.\u003c/p>\n\u003cp>“If you see a plus-sized person in a great outfit, just know that they had to work so hard to make that happen,” she says. “I’m always blown away by the creativity and ability that these other creators have to make things work when you’re not given very much in the first place.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Katie Winnen is on \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok\u003c/a> and \u003ca href=\"https://www.instagram.com/katieiswinnen/\">Instagram.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956994/katie-winnen-tiktok-plus-size-fashion","authors":["byline_arts_13956994"],"categories":["arts_1","arts_76"],"tags":["arts_1696","arts_10278","arts_1143","arts_8017"],"featImg":"arts_13957006","label":"arts"},"arts_13956808":{"type":"posts","id":"arts_13956808","meta":{"index":"posts_1716263798","site":"arts","id":"13956808","score":null,"sort":[1714474830000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1714474830,"format":"standard","title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","headTitle":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","content":"\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. [aside postid='arts_13952566']\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. [aside postid='arts_13913584']\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\n\u003cp>https://www.instagram.com/p/CuHppZLRufC/?hl=en&img_index=1\u003c/p>\n\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” [aside postid='arts_13951605']\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1227,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":35},"modified":1715272313,"excerpt":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","datePublished":"2024-04-30T04:00:30-07:00","dateModified":"2024-05-09T09:31:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","nprStoryId":"kqed-13956808","path":"/arts/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952566","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13913584","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramUrl":"https://www.instagram.com/p/CuHppZLRufC/?hl=en&img_index=1"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951605","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956808/fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","authors":["11872"],"categories":["arts_1","arts_966","arts_76","arts_235"],"tags":["arts_1696","arts_10278","arts_10422","arts_21953","arts_3226","arts_822"],"featImg":"arts_13957384","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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