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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 Winnen says a lot of advice for plus-size women is outdated, focusing on hiding body parts rather than highlighting personality.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","blocks":[],"excerpt":"The Oakland-based creator makes affirming content, and fights stigma with style. ","status":"publish","parent":0,"modified":1714604072,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1134},"headData":{"title":"On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality | KQED","description":"The Oakland-based creator makes affirming content, and fights stigma with style. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality","datePublished":"2024-05-01T22:54:32.000Z","dateModified":"2024-05-01T22:54:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Danny Acosta","nprStoryId":"kqed-13956994","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","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_1591205157","site":"arts","id":"13956808","score":null,"sort":[1714474830000]},"guestAuthors":[],"slug":"fit-check-gericault-de-la-rose-bimbo-moschino-ballroom-fashion","title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","publishDate":1714474830,"format":"standard","headTitle":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","status":"publish","parent":0,"modified":1714440813,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1227},"headData":{"title":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else? | KQED","description":"Performer Bimbo Moschino offers her take on who’s giving normcore and who’s setting the standard.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Is Bay Area Ballroom Doing Fashion Better Than Everyone Else?","datePublished":"2024-04-30T11:00:30.000Z","dateModified":"2024-04-30T01:33:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","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":{"instagramId":"CuHppZLRufC"},"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"],"featImg":"arts_13955604","label":"arts"},"arts_13954306":{"type":"posts","id":"arts_13954306","meta":{"index":"posts_1591205157","site":"arts","id":"13954306","score":null,"sort":[1710846037000]},"guestAuthors":[],"slug":"how-bay-area-hip-hop-made-cozy-clothes-cool","title":"How Bay Area Hip-Hop Made Cozy Clothes Cool","publishDate":1710846037,"format":"aside","headTitle":"How Bay Area Hip-Hop Made Cozy Clothes Cool | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13953402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg\" alt=\"Person in white beanie, plaid jacket, dark shirt, cross-body bag opens jacket and smiles\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13953402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler poses for a photo in Oakland on Feb. 29, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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>Noah David Coogler — stage name \u003ca href=\"https://www.instagram.com/ogdayv/\">OG Dayv\u003c/a> — stands outside his grandmother’s house in February as thick, gray clouds condense all over Oakland. In a knit beanie and a quilted jacket, Coogler looks right at home beneath an overcast sky. \u003c/p>\n\u003cp>[aside tag='fit-check' label='More from Fit Check']Even when he’s on stage performing tracks like “Limoncello” from the \u003ci>Wakanda Forever\u003c/i> soundtrack, Coogler keeps it comfy in a bucket hat, Dickies and a roomy trench coat that lightly billows as he moves.\u003c/p>\n\u003cp>“I would describe my sense of style as the three Cs: comfy, cozy and cool,” says Coogler, who was born in Oakland and now lives in Richmond.\u003c/p>\n\u003cp>But while the Bay is known for its laid-back clothing, Coogler says we don’t give enough credit where credit is due — and he doesn’t mean to Patagonia. \u003c/p>\n\u003cfigure id=\"attachment_13953405\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg\" alt=\"Person sits relaxed in corner of long green couch in living room\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13953405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler gets comfy in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coogler, cozy and cool is Mac Dre on the cover of his 1991 EP \u003ci>\u003ca href=\"https://i.discogs.com/1mK5OvFj9P61mwJc7fOuu98vgSyjrVCErFnSSFR-87E/rs:fit/g:sm/q:90/h:600/w:593/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTk2MzEx/Mi0xNTUyOTMzNDE2/LTQwNjUuanBlZw.jpeg\">California Livin’\u003c/a>\u003c/i>: posted up on a cushy, white couch in jeans and an oversized white baseball tee, leaning back on his elbow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just screams Bay Area,” Coogler says.\u003c/p>\n\u003cp>And whether Coogler is chilling at home playing \u003ci>Pokémon Platinum\u003c/i> on his Nintendo DS or heading out to a music video shoot, there are two cultural touchstones that guide his wardrobe: hip-hop and the Black Panthers.\u003c/p>\n\u003ch2>Oversized, underrated\u003c/h2>\n\u003cp>“From what I’ve observed in my 33 years, hip-hop is the most influential thing on the planet,” Coogler says. \u003c/p>\n\u003cp>That includes its influence on what people wear. Cool, comfy Bay Area style is Keak Da Sneak wearing oversized T-shirts and jeans in the ’90s. It’s LaRussell sporting Crocs in 2024. And it’s rooted in a fusion of hip-hop and skater culture that began in the mid-’90s. \u003c/p>\n\u003cfigure id=\"attachment_13954308\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg\" alt=\"Person in beanie with cross-body back looks out windows\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13954308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler wears a favorite beanie on a rainy day in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coogler points to the mid-aughts Bay Area rap group The Pack, who came on the scene just as he was figuring out his sense of style, as the embodiment of that fusion.\u003c/p>\n\u003cp>“The Pack — they bridged the gap between rap culture and skate culture,” he says. “They came out of Berkeley and they were baggy: big hoodies, big jeans and the Vans, which was such a crazy polarizing look during a time when everyone was wearing Jordans.”\u003c/p>\n\u003ch2>The longshoreman-meets-Black Panther aesthetic\u003c/h2>\n\u003cp>At Coogler’s grandmother’s house, the only decor on the porch is a worn-out “Welcome to Wakanda” doormat — an ode to Coogler’s older brother, co-writer and director of the \u003ci>Black Panther\u003c/i> movies, Ryan Coogler.\u003c/p>\n\u003cp>But that doormat doesn’t mark the only noteworthy entryway in the neighborhood. Just a few blocks away is the \u003ca href=\"https://oaklandside.org/2022/02/04/the-black-panther-partys-original-headquarters-in-north-oakland-may-be-replaced-with-apartments/\">original headquarters of the Black Panther Party\u003c/a> on Martin Luther King Jr. Way, another part of Coogler’s family history.\u003c/p>\n\u003cp>[aside postID='news_11830384']Long before the late Chadwick Boseman took up the mantle of T’Challa, a man named Clarence Thomas (not the Supreme Court Justice) was a student at San Francisco State University in the 1960s. Thomas participated in a wave of student protests organized by the Black Student Union and the Third World Liberation Front that led to \u003ca href=\"https://www.kqed.org/news/11830384/how-the-longest-student-strike-in-u-s-history-created-ethnic-studies\">the creation of the school’s ethnic studies department\u003c/a> (the country’s first). He’s also Coogler’s uncle and style icon.\u003c/p>\n\u003cp>“The Panthers never looked disheveled, rusty or dusty — it’s casual clothing, but it’s \u003ci>neat\u003c/i>,” Coogler said.\u003ci> “\u003c/i>And that’s what I always noticed about my uncle — he was always put together.”\u003c/p>\n\u003cfigure id=\"attachment_13953403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler sports a Burberry rain jacket and his favorite gold jewelry staples. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Uncle Clarence wore hardy, wide-legged work pants and a dark blue, wool coat that kept him warm while he worked at the Port of Oakland as a longshoreman, Coogler remembers. And when his uncle wasn’t working — like when he took a young Coogler to a Black history exhibit in Oakland — he carried himself with that same composed ease.\u003c/p>\n\u003cp>“Even when he wore jeans they would be crisp,” Coogler remembers. “Always had a nice leather belt, nice shirt, really nice jacket and maybe a turtleneck.” \u003c/p>\n\u003cp>There was a throughline between the practical longshoreman workwear and the semi-professional, Ivy-leaning sensibility of the Black Panthers that cohered in Uncle Clarence’s style. And it resonated with Coogler.\u003c/p>\n\u003cp>On stage, Coogler’s Dickies, his roomy houndstooth jacket and his collared dress shirt echo all those entwined memories and local family histories, he says. \u003c/p>\n\u003cfigure id=\"attachment_13953406\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953406\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in a houndstooth coat he wears during performances. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The displacement of style\u003c/h2>\n\u003cp>When Coogler was just a few years old, his parents couldn’t afford to live in Oakland anymore, despite their strong community ties. Like many other Black families, they were forced to move elsewhere — in the Coogler family’s case, to Richmond.\u003c/p>\n\u003cp>“Oh man, so when you walk through Oakland now, when you walk through Berkeley now, you can feel the culture shift,” he says. “I remember growing up in the Bay in the ’90s and the early 2000s — I remember it was minorities everywhere, not just Black people, and what happens is we get priced out.”\u003c/p>\n\u003cp>Coogler sees the corporate techy style that’s overtaken the Bay as part and parcel of that precipitous gentrification, which has \u003ca href=\"https://oaklandside.org/2022/04/01/oakland-home-histories-a-legacy-of-black-homeownership-in-maxwell-park/\">decreased Black homeownership in Oakland\u003c/a> enormously.\u003c/p>\n\u003cp>“If you’re a real Bay head, you know that Bay Area people don’t rock Patagonia like that — \u003cem>new\u003c/em> Bay Area people do,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13954310\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg\" alt=\"Person in plaid jacket, jeans, beanie and sunglasses\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13954310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in his ideal silhouette: comfy with a little structure. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gorp-y outerwear and soft basics are still very much a part of the Bay’s vernacular. But the regional brand staples for Coogler are like him — they came up in the Bay.\u003c/p>\n\u003cp>“We wore North Face, but the reason we wore North Face is because we got a North Face dealer in Berkeley,” he explains. “Gap hoodies — big Bay Area thing.”\u003c/p>\n\u003cp>Coogler wants to move back to Oakland one day, but he recognizes how it’s changed; it’s apparent in how people dress.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When you remove the people that make a place special, you lose the culture,” he says, “you lose the feel, you lose the zest, the flavor.”\u003c/p>\n\n","blocks":[],"excerpt":"OG Dayv explains why ‘OGs don’t rock Patagonia’ and how hip-hop and the Black Panthers impacted regional style.","status":"publish","parent":0,"modified":1711507198,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1182},"headData":{"title":"How Bay Area Hip-Hop Made Cozy Clothes Cool | KQED","description":"OG Dayv explains why ‘OGs don’t rock Patagonia’ and how hip-hop and the Black Panthers impacted regional style.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Bay Area Hip-Hop Made Cozy Clothes Cool","datePublished":"2024-03-19T11:00:37.000Z","dateModified":"2024-03-27T02:39:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fit Check","sourceUrl":"https://www.kqed.org/arts/tag/fit-check","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/741d3b2f-239c-487d-ae11-b13b0109e642/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954306/how-bay-area-hip-hop-made-cozy-clothes-cool","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg\" alt=\"Person in white beanie, plaid jacket, dark shirt, cross-body bag opens jacket and smiles\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13953402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler poses for a photo in Oakland on Feb. 29, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\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>Noah David Coogler — stage name \u003ca href=\"https://www.instagram.com/ogdayv/\">OG Dayv\u003c/a> — stands outside his grandmother’s house in February as thick, gray clouds condense all over Oakland. In a knit beanie and a quilted jacket, Coogler looks right at home beneath an overcast sky. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"fit-check","label":"More from Fit Check "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Even when he’s on stage performing tracks like “Limoncello” from the \u003ci>Wakanda Forever\u003c/i> soundtrack, Coogler keeps it comfy in a bucket hat, Dickies and a roomy trench coat that lightly billows as he moves.\u003c/p>\n\u003cp>“I would describe my sense of style as the three Cs: comfy, cozy and cool,” says Coogler, who was born in Oakland and now lives in Richmond.\u003c/p>\n\u003cp>But while the Bay is known for its laid-back clothing, Coogler says we don’t give enough credit where credit is due — and he doesn’t mean to Patagonia. \u003c/p>\n\u003cfigure id=\"attachment_13953405\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg\" alt=\"Person sits relaxed in corner of long green couch in living room\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13953405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler gets comfy in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coogler, cozy and cool is Mac Dre on the cover of his 1991 EP \u003ci>\u003ca href=\"https://i.discogs.com/1mK5OvFj9P61mwJc7fOuu98vgSyjrVCErFnSSFR-87E/rs:fit/g:sm/q:90/h:600/w:593/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTk2MzEx/Mi0xNTUyOTMzNDE2/LTQwNjUuanBlZw.jpeg\">California Livin’\u003c/a>\u003c/i>: posted up on a cushy, white couch in jeans and an oversized white baseball tee, leaning back on his elbow.\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>“It just screams Bay Area,” Coogler says.\u003c/p>\n\u003cp>And whether Coogler is chilling at home playing \u003ci>Pokémon Platinum\u003c/i> on his Nintendo DS or heading out to a music video shoot, there are two cultural touchstones that guide his wardrobe: hip-hop and the Black Panthers.\u003c/p>\n\u003ch2>Oversized, underrated\u003c/h2>\n\u003cp>“From what I’ve observed in my 33 years, hip-hop is the most influential thing on the planet,” Coogler says. \u003c/p>\n\u003cp>That includes its influence on what people wear. Cool, comfy Bay Area style is Keak Da Sneak wearing oversized T-shirts and jeans in the ’90s. It’s LaRussell sporting Crocs in 2024. And it’s rooted in a fusion of hip-hop and skater culture that began in the mid-’90s. \u003c/p>\n\u003cfigure id=\"attachment_13954308\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg\" alt=\"Person in beanie with cross-body back looks out windows\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13954308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler wears a favorite beanie on a rainy day in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coogler points to the mid-aughts Bay Area rap group The Pack, who came on the scene just as he was figuring out his sense of style, as the embodiment of that fusion.\u003c/p>\n\u003cp>“The Pack — they bridged the gap between rap culture and skate culture,” he says. “They came out of Berkeley and they were baggy: big hoodies, big jeans and the Vans, which was such a crazy polarizing look during a time when everyone was wearing Jordans.”\u003c/p>\n\u003ch2>The longshoreman-meets-Black Panther aesthetic\u003c/h2>\n\u003cp>At Coogler’s grandmother’s house, the only decor on the porch is a worn-out “Welcome to Wakanda” doormat — an ode to Coogler’s older brother, co-writer and director of the \u003ci>Black Panther\u003c/i> movies, Ryan Coogler.\u003c/p>\n\u003cp>But that doormat doesn’t mark the only noteworthy entryway in the neighborhood. Just a few blocks away is the \u003ca href=\"https://oaklandside.org/2022/02/04/the-black-panther-partys-original-headquarters-in-north-oakland-may-be-replaced-with-apartments/\">original headquarters of the Black Panther Party\u003c/a> on Martin Luther King Jr. Way, another part of Coogler’s family history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11830384","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Long before the late Chadwick Boseman took up the mantle of T’Challa, a man named Clarence Thomas (not the Supreme Court Justice) was a student at San Francisco State University in the 1960s. Thomas participated in a wave of student protests organized by the Black Student Union and the Third World Liberation Front that led to \u003ca href=\"https://www.kqed.org/news/11830384/how-the-longest-student-strike-in-u-s-history-created-ethnic-studies\">the creation of the school’s ethnic studies department\u003c/a> (the country’s first). He’s also Coogler’s uncle and style icon.\u003c/p>\n\u003cp>“The Panthers never looked disheveled, rusty or dusty — it’s casual clothing, but it’s \u003ci>neat\u003c/i>,” Coogler said.\u003ci> “\u003c/i>And that’s what I always noticed about my uncle — he was always put together.”\u003c/p>\n\u003cfigure id=\"attachment_13953403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler sports a Burberry rain jacket and his favorite gold jewelry staples. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Uncle Clarence wore hardy, wide-legged work pants and a dark blue, wool coat that kept him warm while he worked at the Port of Oakland as a longshoreman, Coogler remembers. And when his uncle wasn’t working — like when he took a young Coogler to a Black history exhibit in Oakland — he carried himself with that same composed ease.\u003c/p>\n\u003cp>“Even when he wore jeans they would be crisp,” Coogler remembers. “Always had a nice leather belt, nice shirt, really nice jacket and maybe a turtleneck.” \u003c/p>\n\u003cp>There was a throughline between the practical longshoreman workwear and the semi-professional, Ivy-leaning sensibility of the Black Panthers that cohered in Uncle Clarence’s style. And it resonated with Coogler.\u003c/p>\n\u003cp>On stage, Coogler’s Dickies, his roomy houndstooth jacket and his collared dress shirt echo all those entwined memories and local family histories, he says. \u003c/p>\n\u003cfigure id=\"attachment_13953406\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953406\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in a houndstooth coat he wears during performances. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The displacement of style\u003c/h2>\n\u003cp>When Coogler was just a few years old, his parents couldn’t afford to live in Oakland anymore, despite their strong community ties. Like many other Black families, they were forced to move elsewhere — in the Coogler family’s case, to Richmond.\u003c/p>\n\u003cp>“Oh man, so when you walk through Oakland now, when you walk through Berkeley now, you can feel the culture shift,” he says. “I remember growing up in the Bay in the ’90s and the early 2000s — I remember it was minorities everywhere, not just Black people, and what happens is we get priced out.”\u003c/p>\n\u003cp>Coogler sees the corporate techy style that’s overtaken the Bay as part and parcel of that precipitous gentrification, which has \u003ca href=\"https://oaklandside.org/2022/04/01/oakland-home-histories-a-legacy-of-black-homeownership-in-maxwell-park/\">decreased Black homeownership in Oakland\u003c/a> enormously.\u003c/p>\n\u003cp>“If you’re a real Bay head, you know that Bay Area people don’t rock Patagonia like that — \u003cem>new\u003c/em> Bay Area people do,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13954310\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg\" alt=\"Person in plaid jacket, jeans, beanie and sunglasses\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13954310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in his ideal silhouette: comfy with a little structure. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gorp-y outerwear and soft basics are still very much a part of the Bay’s vernacular. But the regional brand staples for Coogler are like him — they came up in the Bay.\u003c/p>\n\u003cp>“We wore North Face, but the reason we wore North Face is because we got a North Face dealer in Berkeley,” he explains. “Gap hoodies — big Bay Area thing.”\u003c/p>\n\u003cp>Coogler wants to move back to Oakland one day, but he recognizes how it’s changed; it’s apparent in how people dress.\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>“When you remove the people that make a place special, you lose the culture,” he says, “you lose the feel, you lose the zest, the flavor.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954306/how-bay-area-hip-hop-made-cozy-clothes-cool","authors":["11872"],"categories":["arts_1","arts_76","arts_235"],"tags":["arts_10342","arts_1696","arts_10278","arts_10422","arts_3961"],"featImg":"arts_13954326","label":"source_arts_13954306"},"arts_13952566":{"type":"posts","id":"arts_13952566","meta":{"index":"posts_1591205157","site":"arts","id":"13952566","score":null,"sort":[1708455444000]},"guestAuthors":[],"slug":"fit-check-berkeley-high-teacher-zakiya-zazaboi","title":"How One Outfit Changed the Life of a Former Berkeley High Teacher","publishDate":1708455444,"format":"standard","headTitle":"How One Outfit Changed the Life of a Former Berkeley High Teacher | KQED","labelTerm":{},"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>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>[aside postID='arts_13951605']Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another. \u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back. \u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back. \u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13939666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Zakiya Zazaboi’s ‘gritty DIY’ fashion is informed by her former students, her zodiac sign and Daly City.","status":"publish","parent":0,"modified":1710807834,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":976},"headData":{"title":"How One Outfit Changed the Life of a Former Berkeley High Teacher | KQED","description":"Zakiya Zazaboi’s ‘gritty DIY’ fashion is informed by her former students, her zodiac sign and Daly City.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How One Outfit Changed the Life of a Former Berkeley High Teacher","datePublished":"2024-02-20T18:57:24.000Z","dateModified":"2024-03-19T00:23:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fit Check ","sourceUrl":"https://www.kqed.org/arts/tag/fit-check","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952566/fit-check-berkeley-high-teacher-zakiya-zazaboi","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>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>\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>Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit. \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>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another. \u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back. \u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back. \u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13939666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952566/fit-check-berkeley-high-teacher-zakiya-zazaboi","authors":["11872"],"categories":["arts_1","arts_76","arts_235"],"tags":["arts_1270","arts_10342","arts_1696","arts_10278","arts_10422","arts_21953","arts_16934","arts_1146"],"featImg":"arts_13952571","label":"source_arts_13952566"},"arts_13951605":{"type":"posts","id":"arts_13951605","meta":{"index":"posts_1591205157","site":"arts","id":"13951605","score":null,"sort":[1707255553000]},"guestAuthors":[],"slug":"fit-check-gengo-akiba-oakland-zen-center-buddhist-priest-fashion","title":"A Buddhist Priest Weighs in on Beauty and Bay Area Style","publishDate":1707255553,"format":"standard","headTitle":"A Buddhist Priest Weighs in on Beauty and Bay Area Style | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about Bay Area fashion and personal expression. Find other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Enrobed in rich brown and deep green, Gengo Akiba takes a few patient moments to neatly tuck the fabric of his kimono around his crossed legs. Mid-morning sunlight diffuses through the latticed windows of the zendo — a building dedicated to meditation — and Akiba closes his eyes in its soft glow.\u003c/p>\n\u003cp>[aside postID='arts_13938519']The 81-year-old abbot of the \u003ca href=\"https://oaklandzencenter.org/\">Kojin-an Oakland Zen Center\u003c/a> is exactly who you might picture when you imagine an elderly Japanese priest: shaved head, small stature and the lighthearted chuckle of a person who’s made peace with the transient nature of existence. His presence, scaffolded by sturdy, rounded shoulders and gently folded hands, is buoyant and powerful all at once.\u003c/p>\n\u003cp>And he’s also got thoughts on beauty, fashion and regional style. (Kei Matsuda, who has been coming to the temple for decades now, translated for Akiba in late December as the abbot sipped on a mug of green tea.)\u003c/p>\n\u003cfigure id=\"attachment_13939857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba helped open the Kojin-an Oakland Zen Center in 1983; it moved to its present Rockridge location in 1990. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After spending a week in Japan, I get bored of the way people dress,” Akiba says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A take even hotter than the genmaicha Akiba’s drinking, but more on that later.\u003c/p>\n\u003cp>Akiba folds himself into ceremonial linen and cotton every Sunday for a 40-minute meditation at the Oakland Zen Center, where he has served as the abbot for almost 30 years. When he lights incense and leads chants, his sumptuous robes float around him. Lengthy kimono sleeves rustle as he laughs and gesticulates about the temple’s feline residents during his morning speech.\u003c/p>\n\u003cp>“What I wear in the zendo is a formal attire for priests,” Akiba says. “And that definitely makes me more aware of my role as priest and sort of prepares me for performing that role.”\u003c/p>\n\u003cp>Historically, Buddhist priests have sewn their own robes from donated scraps of fabric. Akiba’s priest-wear are no rags, but they were gifted to him by friends, he says.\u003c/p>\n\u003cfigure id=\"attachment_13939858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg\" alt=\"A person wears brown and blue clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba wraps himself in his ceremonial kesa. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over his brown kimono, Akiba drapes one shoulder and his torso with a \u003ca href=\"https://risdmuseum.org/exhibitions-events/exhibitions/kesa\">kesa\u003c/a> — a rectangular shawl stitched together carefully with smaller vertical and horizontal rectangles of fabric.\u003c/p>\n\u003cp>“The kesa is the part that’s most visible and perhaps the most important,” Akiba says. “The basic color is brown — that’s a very typical color for the kesa.”\u003c/p>\n\u003cp>While brown and black are common colors worn by priests to signify a renunciation of worldly desires and pleasures, Akiba’s kesa is the deep green of dried tea leaves. His status as a priest means he gets to choose what color he wears, he says. Around his neck is a rakusu, a rectangle of fabric that is a literal representation of Buddha’s robe.\u003c/p>\n\u003cp>Akiba’s clothes are beautiful, without a doubt. And yet Akiba isn’t very concerned about beauty.\u003c/p>\n\u003cp>“I don’t really look at that uniform every time like, ‘oh, this part is beautiful,’ or anything like that — that’s just what I wear,” he says.\u003c/p>\n\u003cp>But for Akiba, it’s possible to appreciate beauty in clothes, in nature and in people without clinging to it.\u003c/p>\n\u003cfigure id=\"attachment_13939964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba was installed as abbot at Kojin-an Oakland Zen Center in 1994. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beauty has a function in rituals and for people performing or attending rituals,” he says, “That is important, but it shouldn’t be the focus of attachment.”\u003c/p>\n\u003cp>And that “contradiction between simplicity and opulence,” as Akiba puts it, plays out in what he wears, too.\u003c/p>\n\u003cp>His ceremony-wear — draping and buttery, but also earthy and muted — is sumptuous and plain all at once. It’s a tension befitting the spiritual multiplicity of Zen, which holds beauty and its transience all at once.\u003c/p>\n\u003cp>When Akiba is clearing crumbly piles of fall leaves from the yard or carrying groceries on a long walk home, he trades his robes for samue, a more casual kimono and pants set that’s traditionally worn by priests but has been adopted by non-religious folks in Japan too.\u003c/p>\n\u003cfigure id=\"attachment_13939965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg\" alt=\"A person wears brown and blue clothing in a natural setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba in his workwear. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the cold months of the year, he layers a Uniqlo down vest and a knit button-up shirt under the kimono top and tucks a blue knit beanie over his bald head.\u003c/p>\n\u003cp>In spite of how casual the samue is, there’s a pleasing throughline that joins Akiba’s workwear with his ceremonial robes, like the neat stitches that join the panels of linen on his rakusu. His workwear set echoes the rich brown of his robes and are also flawlessly proportional to his short stature. The false white collar that he wears under his abbot’s clothes also peeks out from under his samue, and another rakusu — this one blue — hangs from his neck.\u003c/p>\n\u003cp>When Akiba takes regular walks around his Oakland neighborhood in his samue and beanie, the Buddhist priest says he’s highly entertained by the parade of people and clothes he encounters.\u003c/p>\n\u003cfigure id=\"attachment_13939856\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg\" alt=\"Two photos side by side of brown and blue clothing is seen in detail in a wooden area.\" width=\"2500\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1536x506.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-2048x675.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1920x633.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Akiba displays his rakusu. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I go to Tokyo and the train stations are full of people, there are men and women dressed very fashionably in different colors and different styles,” he says. “But they also look the same to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While people in Japan are fairly dressy and formal, he says, Bay Area folks dress comfortably and casually: “And I think that actually is more revealing of who each person is.”\u003c/p>\n\n","blocks":[],"excerpt":"The 81-year-old Oakland Zen Center abbot talks priestly linens and offers his opinions on local dress.","status":"publish","parent":0,"modified":1708454935,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":998},"headData":{"title":"A Buddhist Priest Weighs in on Beauty and Bay Area Style | KQED","description":"The 81-year-old Oakland Zen Center abbot talks priestly linens and offers his opinions on local dress.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Buddhist Priest Weighs in on Beauty and Bay Area Style","datePublished":"2024-02-06T21:39:13.000Z","dateModified":"2024-02-20T18:48:55.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fit Check","sticky":false,"WpOldSlug":"a-buddhist-priest-weighs-in-on-beauty-and-bay-area-style","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951605/fit-check-gengo-akiba-oakland-zen-center-buddhist-priest-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 Bay Area fashion and personal expression. Find other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Enrobed in rich brown and deep green, Gengo Akiba takes a few patient moments to neatly tuck the fabric of his kimono around his crossed legs. Mid-morning sunlight diffuses through the latticed windows of the zendo — a building dedicated to meditation — and Akiba closes his eyes in its soft glow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938519","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The 81-year-old abbot of the \u003ca href=\"https://oaklandzencenter.org/\">Kojin-an Oakland Zen Center\u003c/a> is exactly who you might picture when you imagine an elderly Japanese priest: shaved head, small stature and the lighthearted chuckle of a person who’s made peace with the transient nature of existence. His presence, scaffolded by sturdy, rounded shoulders and gently folded hands, is buoyant and powerful all at once.\u003c/p>\n\u003cp>And he’s also got thoughts on beauty, fashion and regional style. (Kei Matsuda, who has been coming to the temple for decades now, translated for Akiba in late December as the abbot sipped on a mug of green tea.)\u003c/p>\n\u003cfigure id=\"attachment_13939857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba helped open the Kojin-an Oakland Zen Center in 1983; it moved to its present Rockridge location in 1990. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After spending a week in Japan, I get bored of the way people dress,” Akiba says.\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>A take even hotter than the genmaicha Akiba’s drinking, but more on that later.\u003c/p>\n\u003cp>Akiba folds himself into ceremonial linen and cotton every Sunday for a 40-minute meditation at the Oakland Zen Center, where he has served as the abbot for almost 30 years. When he lights incense and leads chants, his sumptuous robes float around him. Lengthy kimono sleeves rustle as he laughs and gesticulates about the temple’s feline residents during his morning speech.\u003c/p>\n\u003cp>“What I wear in the zendo is a formal attire for priests,” Akiba says. “And that definitely makes me more aware of my role as priest and sort of prepares me for performing that role.”\u003c/p>\n\u003cp>Historically, Buddhist priests have sewn their own robes from donated scraps of fabric. Akiba’s priest-wear are no rags, but they were gifted to him by friends, he says.\u003c/p>\n\u003cfigure id=\"attachment_13939858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg\" alt=\"A person wears brown and blue clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba wraps himself in his ceremonial kesa. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over his brown kimono, Akiba drapes one shoulder and his torso with a \u003ca href=\"https://risdmuseum.org/exhibitions-events/exhibitions/kesa\">kesa\u003c/a> — a rectangular shawl stitched together carefully with smaller vertical and horizontal rectangles of fabric.\u003c/p>\n\u003cp>“The kesa is the part that’s most visible and perhaps the most important,” Akiba says. “The basic color is brown — that’s a very typical color for the kesa.”\u003c/p>\n\u003cp>While brown and black are common colors worn by priests to signify a renunciation of worldly desires and pleasures, Akiba’s kesa is the deep green of dried tea leaves. His status as a priest means he gets to choose what color he wears, he says. Around his neck is a rakusu, a rectangle of fabric that is a literal representation of Buddha’s robe.\u003c/p>\n\u003cp>Akiba’s clothes are beautiful, without a doubt. And yet Akiba isn’t very concerned about beauty.\u003c/p>\n\u003cp>“I don’t really look at that uniform every time like, ‘oh, this part is beautiful,’ or anything like that — that’s just what I wear,” he says.\u003c/p>\n\u003cp>But for Akiba, it’s possible to appreciate beauty in clothes, in nature and in people without clinging to it.\u003c/p>\n\u003cfigure id=\"attachment_13939964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba was installed as abbot at Kojin-an Oakland Zen Center in 1994. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beauty has a function in rituals and for people performing or attending rituals,” he says, “That is important, but it shouldn’t be the focus of attachment.”\u003c/p>\n\u003cp>And that “contradiction between simplicity and opulence,” as Akiba puts it, plays out in what he wears, too.\u003c/p>\n\u003cp>His ceremony-wear — draping and buttery, but also earthy and muted — is sumptuous and plain all at once. It’s a tension befitting the spiritual multiplicity of Zen, which holds beauty and its transience all at once.\u003c/p>\n\u003cp>When Akiba is clearing crumbly piles of fall leaves from the yard or carrying groceries on a long walk home, he trades his robes for samue, a more casual kimono and pants set that’s traditionally worn by priests but has been adopted by non-religious folks in Japan too.\u003c/p>\n\u003cfigure id=\"attachment_13939965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg\" alt=\"A person wears brown and blue clothing in a natural setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba in his workwear. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the cold months of the year, he layers a Uniqlo down vest and a knit button-up shirt under the kimono top and tucks a blue knit beanie over his bald head.\u003c/p>\n\u003cp>In spite of how casual the samue is, there’s a pleasing throughline that joins Akiba’s workwear with his ceremonial robes, like the neat stitches that join the panels of linen on his rakusu. His workwear set echoes the rich brown of his robes and are also flawlessly proportional to his short stature. The false white collar that he wears under his abbot’s clothes also peeks out from under his samue, and another rakusu — this one blue — hangs from his neck.\u003c/p>\n\u003cp>When Akiba takes regular walks around his Oakland neighborhood in his samue and beanie, the Buddhist priest says he’s highly entertained by the parade of people and clothes he encounters.\u003c/p>\n\u003cfigure id=\"attachment_13939856\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg\" alt=\"Two photos side by side of brown and blue clothing is seen in detail in a wooden area.\" width=\"2500\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1536x506.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-2048x675.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1920x633.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Akiba displays his rakusu. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I go to Tokyo and the train stations are full of people, there are men and women dressed very fashionably in different colors and different styles,” he says. “But they also look the same to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While people in Japan are fairly dressy and formal, he says, Bay Area folks dress comfortably and casually: “And I think that actually is more revealing of who each person is.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951605/fit-check-gengo-akiba-oakland-zen-center-buddhist-priest-fashion","authors":["11872"],"categories":["arts_1","arts_76"],"tags":["arts_1696","arts_10278","arts_21953"],"featImg":"arts_13939847","label":"source_arts_13951605"},"arts_13950626":{"type":"posts","id":"arts_13950626","meta":{"index":"posts_1591205157","site":"arts","id":"13950626","score":null,"sort":[1705686670000]},"guestAuthors":[],"slug":"de-young-museum-fashioning-san-francisco-century-style","title":"Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit","publishDate":1705686670,"format":"standard","headTitle":"Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">\u003cem>Fashioning San Francisco: A Century of Style\u003c/em>\u003c/a>, opening Jan. 20 at the de Young Museum, is an extensive collection of impressive craftsmanship. It’s also a peek into the closets of some of the wealthiest San Franciscans of the past century, broken up into a strange amalgam of themes. Rows of mannequins are draped in gowns that this-and-that socialite wore to this-and-that high society function, which makes for an awkward transition into the exhibit’s finale: cultural appropriation.\u003c/p>\n\u003cp>Throughout the exhibition, faux balconies and elevated platforms set the stage for silk chiffon, taffeta and meticulous hand-sewing by haute couture legends like Jean Paul Gaultier, Coco Chanel and Rei Kawakubo. Wealthy San Franciscan women wore these masterpieces to local balls and Parisian soirées — and they’re breathtaking.\u003c/p>\n\u003cfigure id=\"attachment_13950633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Blancquaert, Evening ensemble: bodice and skirt, ca. 1905. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit positions the philanthropy of people like those socialites as “vital to the lived experiences of San Franciscans since the city’s inception,” without much of a critical eye on the role of the powerful in the city’s ongoing social and racial inequality. It’s a lopsided framework that makes the exhibit’s final section abrupt, and its larger message incoherent. [aside postid='arts_13950359']\u003c/p>\n\u003cp>In the farthest corner of the exhibit, mandarin collars and African-inspired beadwork by white designers invite museum guests to reflect on cultural appropriation in a section called “Global Aesthetic Influences” — a cautious title that whispers, “I’ve been focus-grouped.”\u003c/p>\n\u003cp>“The collection reflects the centuries-long practice of cultural appropriation and commodification in fashion and the arts broadly,” reads the text panel. The reflection feels sudden, given hardly any other mention of power dynamics or racism throughout the halls of haute couture leading up to this point.\u003c/p>\n\u003cfigure id=\"attachment_13950634\" class=\"wp-caption aligncenter\" style=\"max-width: 1977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg\" alt=\"\" width=\"1977\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg 1977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-800x1036.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1020x1321.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1582x2048.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1920x2486.jpg 1920w\" sizes=\"(max-width: 1977px) 100vw, 1977px\">\u003cfigcaption class=\"wp-caption-text\">Callot Sœurs. Ensemble: bodice and skirt, ca. 1908. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The description for one lambs’ wool number by Karl Lagerfeld — \u003ca href=\"https://www.kqed.org/arts/13928464/met-gala-2023-karl-lagerfeld-best-and-worst\">a notorious bigot\u003c/a> still worshiped by fashion elite — doesn’t specify which culture he’s appropriating, or offer further insight from museum curators as to why they included it here. It’s kind of like the de Young grabbed all the vaguely or explicitly ethnic clothes that might get them into trouble and put them in a room together. And their answer to that — a hard and fast insertion of nuance that isn’t woven through any other part of the collection — feels insufficient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere, the collection breaks down into other themed sections, including the period right after the 1906 earthquake that sent San Francisco into a tailspin — but apparently sent the city’s elite into French-imported silks and lace. The exhibition describes how affluent San Franciscans used fashion to reclaim their identities after the disaster, which isn’t a hugely compelling narrative when we remember that the city’s \u003ca href=\"https://www.kqed.org/arts/13898345/the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population\">relief funds highly favored the rich and powerful\u003c/a>, whom activists accused of spending the money on lavish cars.\u003c/p>\n\u003cp>There’s also a “Little Black Dress” collection that reflects on how wartime shortages necessitated a wardrobe staple that met the “needs and budgets of women across the social class spectrum.” But the only spectrum featured is from Chanel to Valentino.\u003c/p>\n\u003cfigure id=\"attachment_13950632\" class=\"wp-caption aligncenter\" style=\"max-width: 1838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg\" alt=\"\" width=\"1838\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg 1838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-800x1114.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1020x1421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-768x1070.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1103x1536.jpg 1103w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1470x2048.jpg 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1920x2674.jpg 1920w\" sizes=\"(max-width: 1838px) 100vw, 1838px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Chanel. House of Chanel. Evening ensemble: dress, belt, capelet, and slip; 1939. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deeper into the exhibit is a larger hall of gowns called “After the Ball,” which looks like a snapshot of the Met Gala. Highlights there include a floor-length white polka-dot dress by San Francisco-born designer Richard Tam, whose evening wear was featured in \u003cem>Vogue\u003c/em> in the ’60s. [aside postid='arts_13950600']\u003c/p>\n\u003cp>There’s a lavish Oscar de la Renta dress sprawling with brown ruffles worn by San Francisco socialite \u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\">Dede Wilsey\u003c/a>, a longtime supporter of the de Young and former board president of the Fine Arts Museums, whose father was an ambassador to Luxembourg and Austria. (Wilsey also paid $1,000 for each of her dogs’ names to be included on a donor wall of the museum, if that gives you an idea of the kind of old money we’re talking about.)\u003c/p>\n\u003cp>Amid the pomp and circumstance — which can get a bit boring and very frivolous — there are gems like dresses worn by Leola King, an icon of the \u003ca href=\"https://www.kqed.org/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore\">Fillmore’s storied jazz and blues scene\u003c/a>, and some daring looks by avant garde Asian designers like Junya Watanabe, Vivienne Tam and the Bay Area’s own Kaisik Wong. There’s also a pair of colorful patchwork boots from the ’70s by an unknown designer that are pretty fabulous.\u003c/p>\n\u003cfigure id=\"attachment_13950631\" class=\"wp-caption aligncenter\" style=\"max-width: 2167px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg\" alt=\"\" width=\"2167\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg 2167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1734x2048.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1920x2268.jpg 1920w\" sizes=\"(max-width: 2167px) 100vw, 2167px\">\u003cfigcaption class=\"wp-caption-text\">Pair of woman’s boots, 1972. Pieced Leather. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before visitors ascend a flight of grand museum stairs to the main event, a trio of augmented reality mirrors courtesy of Snapchat invites museumgoers to try on Valentino and Kaisik Wong in real time — cool in theory, gimmicky in practice.\u003c/p>\n\u003cp>If you’re looking for a nuanced, comprehensive collection of San Francisco clothing that reflects the city’s history in all its classes and creeds, this isn’t that. But if you’re curious how the richest of the rich dressed for a ball at Versailles or a gala at the San Francisco Opera, then this is the exhibit for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fashioning San Francisco: A Century of Style’ opens at the de Young Museum on Jan. 20 and continues through Aug. 11, 2024. \u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Fashioning San Francisco: A Century of Style,' opening Jan. 20, presents couture worn by the city's elite. ","status":"publish","parent":0,"modified":1705959226,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":995},"headData":{"title":"Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit | KQED","description":"'Fashioning San Francisco: A Century of Style,' opening Jan. 20, presents couture worn by the city's elite. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit","datePublished":"2024-01-19T17:51:10.000Z","dateModified":"2024-01-22T21:33:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950626/de-young-museum-fashioning-san-francisco-century-style","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">\u003cem>Fashioning San Francisco: A Century of Style\u003c/em>\u003c/a>, opening Jan. 20 at the de Young Museum, is an extensive collection of impressive craftsmanship. It’s also a peek into the closets of some of the wealthiest San Franciscans of the past century, broken up into a strange amalgam of themes. Rows of mannequins are draped in gowns that this-and-that socialite wore to this-and-that high society function, which makes for an awkward transition into the exhibit’s finale: cultural appropriation.\u003c/p>\n\u003cp>Throughout the exhibition, faux balconies and elevated platforms set the stage for silk chiffon, taffeta and meticulous hand-sewing by haute couture legends like Jean Paul Gaultier, Coco Chanel and Rei Kawakubo. Wealthy San Franciscan women wore these masterpieces to local balls and Parisian soirées — and they’re breathtaking.\u003c/p>\n\u003cfigure id=\"attachment_13950633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Blancquaert, Evening ensemble: bodice and skirt, ca. 1905. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit positions the philanthropy of people like those socialites as “vital to the lived experiences of San Franciscans since the city’s inception,” without much of a critical eye on the role of the powerful in the city’s ongoing social and racial inequality. It’s a lopsided framework that makes the exhibit’s final section abrupt, and its larger message incoherent. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950359","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the farthest corner of the exhibit, mandarin collars and African-inspired beadwork by white designers invite museum guests to reflect on cultural appropriation in a section called “Global Aesthetic Influences” — a cautious title that whispers, “I’ve been focus-grouped.”\u003c/p>\n\u003cp>“The collection reflects the centuries-long practice of cultural appropriation and commodification in fashion and the arts broadly,” reads the text panel. The reflection feels sudden, given hardly any other mention of power dynamics or racism throughout the halls of haute couture leading up to this point.\u003c/p>\n\u003cfigure id=\"attachment_13950634\" class=\"wp-caption aligncenter\" style=\"max-width: 1977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg\" alt=\"\" width=\"1977\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg 1977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-800x1036.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1020x1321.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1582x2048.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1920x2486.jpg 1920w\" sizes=\"(max-width: 1977px) 100vw, 1977px\">\u003cfigcaption class=\"wp-caption-text\">Callot Sœurs. Ensemble: bodice and skirt, ca. 1908. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The description for one lambs’ wool number by Karl Lagerfeld — \u003ca href=\"https://www.kqed.org/arts/13928464/met-gala-2023-karl-lagerfeld-best-and-worst\">a notorious bigot\u003c/a> still worshiped by fashion elite — doesn’t specify which culture he’s appropriating, or offer further insight from museum curators as to why they included it here. It’s kind of like the de Young grabbed all the vaguely or explicitly ethnic clothes that might get them into trouble and put them in a room together. And their answer to that — a hard and fast insertion of nuance that isn’t woven through any other part of the collection — feels insufficient.\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>Elsewhere, the collection breaks down into other themed sections, including the period right after the 1906 earthquake that sent San Francisco into a tailspin — but apparently sent the city’s elite into French-imported silks and lace. The exhibition describes how affluent San Franciscans used fashion to reclaim their identities after the disaster, which isn’t a hugely compelling narrative when we remember that the city’s \u003ca href=\"https://www.kqed.org/arts/13898345/the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population\">relief funds highly favored the rich and powerful\u003c/a>, whom activists accused of spending the money on lavish cars.\u003c/p>\n\u003cp>There’s also a “Little Black Dress” collection that reflects on how wartime shortages necessitated a wardrobe staple that met the “needs and budgets of women across the social class spectrum.” But the only spectrum featured is from Chanel to Valentino.\u003c/p>\n\u003cfigure id=\"attachment_13950632\" class=\"wp-caption aligncenter\" style=\"max-width: 1838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg\" alt=\"\" width=\"1838\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg 1838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-800x1114.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1020x1421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-768x1070.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1103x1536.jpg 1103w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1470x2048.jpg 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1920x2674.jpg 1920w\" sizes=\"(max-width: 1838px) 100vw, 1838px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Chanel. House of Chanel. Evening ensemble: dress, belt, capelet, and slip; 1939. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deeper into the exhibit is a larger hall of gowns called “After the Ball,” which looks like a snapshot of the Met Gala. Highlights there include a floor-length white polka-dot dress by San Francisco-born designer Richard Tam, whose evening wear was featured in \u003cem>Vogue\u003c/em> in the ’60s. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950600","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lavish Oscar de la Renta dress sprawling with brown ruffles worn by San Francisco socialite \u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\">Dede Wilsey\u003c/a>, a longtime supporter of the de Young and former board president of the Fine Arts Museums, whose father was an ambassador to Luxembourg and Austria. (Wilsey also paid $1,000 for each of her dogs’ names to be included on a donor wall of the museum, if that gives you an idea of the kind of old money we’re talking about.)\u003c/p>\n\u003cp>Amid the pomp and circumstance — which can get a bit boring and very frivolous — there are gems like dresses worn by Leola King, an icon of the \u003ca href=\"https://www.kqed.org/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore\">Fillmore’s storied jazz and blues scene\u003c/a>, and some daring looks by avant garde Asian designers like Junya Watanabe, Vivienne Tam and the Bay Area’s own Kaisik Wong. There’s also a pair of colorful patchwork boots from the ’70s by an unknown designer that are pretty fabulous.\u003c/p>\n\u003cfigure id=\"attachment_13950631\" class=\"wp-caption aligncenter\" style=\"max-width: 2167px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg\" alt=\"\" width=\"2167\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg 2167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1734x2048.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1920x2268.jpg 1920w\" sizes=\"(max-width: 2167px) 100vw, 2167px\">\u003cfigcaption class=\"wp-caption-text\">Pair of woman’s boots, 1972. Pieced Leather. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before visitors ascend a flight of grand museum stairs to the main event, a trio of augmented reality mirrors courtesy of Snapchat invites museumgoers to try on Valentino and Kaisik Wong in real time — cool in theory, gimmicky in practice.\u003c/p>\n\u003cp>If you’re looking for a nuanced, comprehensive collection of San Francisco clothing that reflects the city’s history in all its classes and creeds, this isn’t that. But if you’re curious how the richest of the rich dressed for a ball at Versailles or a gala at the San Francisco Opera, then this is the exhibit for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fashioning San Francisco: A Century of Style’ opens at the de Young Museum on Jan. 20 and continues through Aug. 11, 2024. \u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950626/de-young-museum-fashioning-san-francisco-century-style","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_1210","arts_10342","arts_1696","arts_10278","arts_769","arts_585"],"featImg":"arts_13950639","label":"arts_140"},"arts_13939667":{"type":"posts","id":"arts_13939667","meta":{"index":"posts_1591205157","site":"arts","id":"13939667","score":null,"sort":[1702941375000]},"guestAuthors":[],"slug":"two-two-jane-galerie-experimental-fashion-show","title":"An Experimental Fashion Show Presents a Vision of Artists in Motion","publishDate":1702941375,"format":"standard","headTitle":"An Experimental Fashion Show Presents a Vision of Artists in Motion | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13939157']Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938519']The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"An event organized by Two Two and jane galerie featured emerging designers in a lineup of maximal looks.","status":"publish","parent":0,"modified":1714598958,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":936},"headData":{"title":"San Francisco Fashion Show Celebrates Singular Tastes | KQED","description":"An event organized by Two Two and jane galerie featured emerging designers in a lineup of maximal looks.","ogTitle":"An Experimental Fashion Show Presents a Vision of Artists in Motion","ogDescription":"","ogImgId":"","twTitle":"An Experimental Fashion Show Presents a Vision of Artists in Motion","twDescription":"","twImgId":"","socialTitle":"San Francisco Fashion Show Celebrates Singular Tastes %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Experimental Fashion Show Presents a Vision of Artists in Motion","datePublished":"2023-12-18T23:16:15.000Z","dateModified":"2024-05-01T21:29:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13939667","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939667/two-two-jane-galerie-experimental-fashion-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939157","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\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>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938519","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939667/two-two-jane-galerie-experimental-fashion-show","authors":["11892"],"programs":["arts_140"],"categories":["arts_1","arts_76"],"tags":["arts_1696","arts_10278","arts_585"],"featImg":"arts_13939649","label":"arts_140"},"arts_13939157":{"type":"posts","id":"arts_13939157","meta":{"index":"posts_1591205157","site":"arts","id":"13939157","score":null,"sort":[1702500354000]},"guestAuthors":[],"slug":"enter-nostalgia-bay-area-filipino-american-fashion","title":"This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels","publishDate":1702500354,"format":"standard","headTitle":"This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]“O[/dropcap]ur first drop had maybe ten orders,” 23-year-old Jaden Yo-Eco tells me in front of Oakland Filipino restaurant \u003ca href=\"https://www.instagram.com/luckythreeseven/?hl=en\">Lucky Three Seven\u003c/a>. “Now it’s thousands, but it’s still only two of us packing in our garage.”\u003c/p>\n\u003cp>Yo-Eco, along with his best friend Humbert Lee — who’s not here because he’s training for an MMA match — is the owner of the streetwear brand \u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>. Their clothing line, which modernizes classic Filipino cultural wear, has found viral online success and has been worn by a long list of rappers that includes YG, Blxst, Toosii, Rucci, Shordie Shordie, 1TakeJay and others.\u003c/p>\n\u003cp>Tonight, the owners of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\">Lucky Three Seven\u003c/a> have allowed Yo-Eco to shoot a lookbook in the restaurant. It’s been overrun by a fleet of photographers and videographers, and in the kitchen, a group of models — which include Stockton Filipino rapper \u003ca href=\"https://www.instagram.com/nellynelmb/?hl=en\">MBNel\u003c/a> — are laughing and eating chicken wings and lumpia as they wait for the shoot to begin.\u003c/p>\n\u003cfigure id=\"attachment_13939328\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg\" alt=\"A candid shot of models laughing inside the kitchen of a Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheana Soriano (left), RJ Suave and MBJoeMari take a moment between shots during a photoshoot for Oakland clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underneath the iridescent glow of the restaurant’s red-and-yellow electric sign, Yo-Eco leans against the hood of his car in baggy cargos, Timberland boots and a faded purplish Enter Nostalgia crewneck. The car, which Yo-Eco bought after one of the brand’s first successful drops, is a vintage 1999 Mercedes SL500.\u003c/p>\n\u003cp>“I’ve always been into things from before my time,” he says. “That’s why I chose [Lucky Three Seven]. The neon signs remind me of the city back in the ’40s when they had the bright signs everywhere.” [aside label='More Style Stories' postid='arts_13938519,arts_13938668,arts_13936528']\u003c/p>\n\u003cp>The past, Yo-Eco says, is one of his biggest design inspirations — hence, the name Nostalgia. Their latest collection draws upon the traditional Filipino garment barong tagalog, a type of sheer, long-sleeve button-up shirt typically worn at Filipino weddings and celebrations.\u003c/p>\n\u003cp>“Growing up, I had a barong I’d wear on special occasions like my sister’s coming of age party — in Filipino culture, it’s called a debut,” says Yo-Eco. “So I thought, what if we did a short-sleeved version?”\u003c/p>\n\u003cp>Yo-Eco and Lee originally released a cream colorway in March and shot the lookbook for it at \u003ca href=\"https://www.barongandformal.com/\">Barong & Formal\u003c/a>, a Filipino bridal shop in Oakland. The photoshoot garnered online attention, helping Barong & Formal gain their first couple thousand followers on social media and inspiring them to launch an online store, Yo-Eco says.\u003c/p>\n\u003cfigure id=\"attachment_13938357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg\" alt=\"A person crosses their arms in front of their body with one hand holding their wrist. A gold bracelet hands from their wrist and tattoos cover their hands. They are wearing a knit shirt and off white pants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RJ Suave poses in a knit cardigran by Enter Nostalgia during a photoshoot in a local Filipino restaurant in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had instances where something blew up, but those didn’t mean as much,” Yo-Eco says. “With these shirts, we started telling stories and giving exposure to [Filipino-owned] businesses, like the barong shop. So it’s different.”\u003c/p>\n\u003cp>After the initial success, Yo-Eco released new colorways the models are wearing tonight: olive, grey and blue. The shirts, he notes, are not a totally faithful rendition of the traditional barong. They sport a paisley pattern drawn from hip-hop culture, a culture whose innate anti-authority spirit offers Yo-Eco — who dropped out of college to pursue Enter Nostalgia — a different, but valuable, medium through which to articulate his experience as a Filipino American.\u003c/p>\n\u003cp>“I’m that delinquent son that got tatted, got into the art and clothing scene,” says Yo-Eco. “Many Filipinos \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">have talented creative arts backgrounds\u003c/a>, but our immigrant parents just want us to find stability, to be a traditional nurse or a doctor or something. It means a lot to be able to represent this different side.”\u003c/p>\n\u003cfigure id=\"attachment_13939327\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg\" alt=\"A videographer speaks to models between shots at a dimly lit Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Videographer Miguel Mallari chats with models Sheana Soriano and Nichole Thorne during a photoshoot for clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After eating some of the best tocino I’ve ever had, Yo-Eco and I say goodbye. We plan to meet again at Lee’s house where the two pack their orders in Lee’s parents’ garage.\u003c/p>\n\u003cp>As I drive away, I play MBNel’s most popular song, “\u003ca href=\"https://youtu.be/hMiFQGU6a9U?si=QZqBt0-4YpwuOGqP\">In My City\u003c/a>,” on my car’s aux. “I never went to college like my mama, papa wanted,” MBNel croons. [ad fullwidth]\u003c/p>\n\u003cp>[dropcap]A[/dropcap] week later, Yo-Eco, Lee and I are standing in the Lee family garage on a rainy Friday night. The small space is cluttered with countless brown cardboard boxes filled with the brand’s shirts.\u003c/p>\n\u003cp>Lee, who is wearing one of the brand’s crochet cardigans (“It’s some \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">Asian grandma shit\u003c/a>,” he says with a laugh), is in a phenomenal mood. He and Yo-Eco haven’t seen each other in some time due to his rigorous MMA training schedule, and the two friends are elated.\u003c/p>\n\u003cfigure id=\"attachment_13939371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg\" alt=\"Two people sit in a room with a rack filled with clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco pose for a portrait at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They originally met in high school. Yo-Eco recalls how shortly after he started the brand in 2017 — “At the time, just words screen-printed on a T-shirt,” both concur — Lee would make the hour-and-a-half drive from Daly City to San Jose and back to pick up the T-shirts that Yo-Eco would then sell to his high school classmates out of the trunk of his car.\u003c/p>\n\u003cp>“It was mutual brotherly love,” says Lee. “It didn’t have to be T-shirts — it could’ve been anything. He could’ve opened a donut business, I would’ve gone to get dough or oil for him.”\u003c/p>\n\u003cp>In 2019, once the two graduated high school, Yo-Eco asked Lee — who knew how to build websites — to come on board as a co-owner of the brand and launch an online store. The two differ in many ways: Yo-Eco is reserved; Lee is extroverted. Yo-Eco is creative; Lee is more business-minded. They say that’s precisely what makes their partnership so fruitful.\u003c/p>\n\u003cp>“I’ll do the emails, file with the state, the financial stuff. But he’ll do the creative work, like the photoshoot at Lucky Three Seven or the designing, and I can train full time,” says Lee. “That’s why it works so well.”\u003c/p>\n\u003cfigure id=\"attachment_13939336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco (right) show their matching butterfly tattoos during a portrait session at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One commonality the two do share, though: the small butterfly tattoo that they both have on their middle finger. The two decided to get the matching tattoos on one of their many trips to LA when they’d drive down every two weeks with the intent of trying to get their clothes into the hands of rappers.\u003c/p>\n\u003cp>“The whole thing about butterflies starting as cocoons,” says Yo-Eco, referencing the tattoo. “We always had dreams that other people thought we were crazy for having. But we never doubted. We always knew we just had to stick to the script.”\u003c/p>\n\u003cfigure id=\"attachment_13938355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg\" alt=\"A purple sweatshirt with white lettering fills the photo frame. A hand is held in front.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enter Nostalgia co-founder Jaden Yo-Eco shows his ‘Nostalgia’ tattoo in Daly City on Nov. 17, 2023. Yo-Eco and his friend Humbert Lee created local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This shared blind faith — or “delusion” in the words of Yo-Eco and Lee — is what they both ultimately attribute their success to.\u003c/p>\n\u003cp>“I feel like even if we didn’t do Enter Nostalgia, we would’ve at the end been at the same place with anything else because of our mindset,” says Lee.\u003c/p>\n\u003cp>“It’s the same with anything in life,” agrees Yo-Eco. “To get somewhere, you have to be delusional about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>’s next collection comes out in 2024, and will be announced on \u003ca href=\"https://www.instagram.com/enternostalgia/?hl=en\">Instagram\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"YG and Blxst have been spotted wearing Enter Nostalgia, a brand created by two best friends in their early 20s.","status":"publish","parent":0,"modified":1705002980,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1468},"headData":{"title":"This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels | KQED","description":"YG and Blxst have been spotted wearing Enter Nostalgia, a brand created by two best friends in their early 20s.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels","datePublished":"2023-12-13T20:45:54.000Z","dateModified":"2024-01-11T19:56:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Dario McCarty","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939157/enter-nostalgia-bay-area-filipino-american-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“O\u003c/span>\u003c/p>\u003cp>ur first drop had maybe ten orders,” 23-year-old Jaden Yo-Eco tells me in front of Oakland Filipino restaurant \u003ca href=\"https://www.instagram.com/luckythreeseven/?hl=en\">Lucky Three Seven\u003c/a>. “Now it’s thousands, but it’s still only two of us packing in our garage.”\u003c/p>\n\u003cp>Yo-Eco, along with his best friend Humbert Lee — who’s not here because he’s training for an MMA match — is the owner of the streetwear brand \u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>. Their clothing line, which modernizes classic Filipino cultural wear, has found viral online success and has been worn by a long list of rappers that includes YG, Blxst, Toosii, Rucci, Shordie Shordie, 1TakeJay and others.\u003c/p>\n\u003cp>Tonight, the owners of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\">Lucky Three Seven\u003c/a> have allowed Yo-Eco to shoot a lookbook in the restaurant. It’s been overrun by a fleet of photographers and videographers, and in the kitchen, a group of models — which include Stockton Filipino rapper \u003ca href=\"https://www.instagram.com/nellynelmb/?hl=en\">MBNel\u003c/a> — are laughing and eating chicken wings and lumpia as they wait for the shoot to begin.\u003c/p>\n\u003cfigure id=\"attachment_13939328\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg\" alt=\"A candid shot of models laughing inside the kitchen of a Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheana Soriano (left), RJ Suave and MBJoeMari take a moment between shots during a photoshoot for Oakland clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underneath the iridescent glow of the restaurant’s red-and-yellow electric sign, Yo-Eco leans against the hood of his car in baggy cargos, Timberland boots and a faded purplish Enter Nostalgia crewneck. The car, which Yo-Eco bought after one of the brand’s first successful drops, is a vintage 1999 Mercedes SL500.\u003c/p>\n\u003cp>“I’ve always been into things from before my time,” he says. “That’s why I chose [Lucky Three Seven]. The neon signs remind me of the city back in the ’40s when they had the bright signs everywhere.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More Style Stories ","postid":"arts_13938519,arts_13938668,arts_13936528"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The past, Yo-Eco says, is one of his biggest design inspirations — hence, the name Nostalgia. Their latest collection draws upon the traditional Filipino garment barong tagalog, a type of sheer, long-sleeve button-up shirt typically worn at Filipino weddings and celebrations.\u003c/p>\n\u003cp>“Growing up, I had a barong I’d wear on special occasions like my sister’s coming of age party — in Filipino culture, it’s called a debut,” says Yo-Eco. “So I thought, what if we did a short-sleeved version?”\u003c/p>\n\u003cp>Yo-Eco and Lee originally released a cream colorway in March and shot the lookbook for it at \u003ca href=\"https://www.barongandformal.com/\">Barong & Formal\u003c/a>, a Filipino bridal shop in Oakland. The photoshoot garnered online attention, helping Barong & Formal gain their first couple thousand followers on social media and inspiring them to launch an online store, Yo-Eco says.\u003c/p>\n\u003cfigure id=\"attachment_13938357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg\" alt=\"A person crosses their arms in front of their body with one hand holding their wrist. A gold bracelet hands from their wrist and tattoos cover their hands. They are wearing a knit shirt and off white pants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RJ Suave poses in a knit cardigran by Enter Nostalgia during a photoshoot in a local Filipino restaurant in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had instances where something blew up, but those didn’t mean as much,” Yo-Eco says. “With these shirts, we started telling stories and giving exposure to [Filipino-owned] businesses, like the barong shop. So it’s different.”\u003c/p>\n\u003cp>After the initial success, Yo-Eco released new colorways the models are wearing tonight: olive, grey and blue. The shirts, he notes, are not a totally faithful rendition of the traditional barong. They sport a paisley pattern drawn from hip-hop culture, a culture whose innate anti-authority spirit offers Yo-Eco — who dropped out of college to pursue Enter Nostalgia — a different, but valuable, medium through which to articulate his experience as a Filipino American.\u003c/p>\n\u003cp>“I’m that delinquent son that got tatted, got into the art and clothing scene,” says Yo-Eco. “Many Filipinos \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">have talented creative arts backgrounds\u003c/a>, but our immigrant parents just want us to find stability, to be a traditional nurse or a doctor or something. It means a lot to be able to represent this different side.”\u003c/p>\n\u003cfigure id=\"attachment_13939327\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg\" alt=\"A videographer speaks to models between shots at a dimly lit Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Videographer Miguel Mallari chats with models Sheana Soriano and Nichole Thorne during a photoshoot for clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After eating some of the best tocino I’ve ever had, Yo-Eco and I say goodbye. We plan to meet again at Lee’s house where the two pack their orders in Lee’s parents’ garage.\u003c/p>\n\u003cp>As I drive away, I play MBNel’s most popular song, “\u003ca href=\"https://youtu.be/hMiFQGU6a9U?si=QZqBt0-4YpwuOGqP\">In My City\u003c/a>,” on my car’s aux. “I never went to college like my mama, papa wanted,” MBNel croons. \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>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> week later, Yo-Eco, Lee and I are standing in the Lee family garage on a rainy Friday night. The small space is cluttered with countless brown cardboard boxes filled with the brand’s shirts.\u003c/p>\n\u003cp>Lee, who is wearing one of the brand’s crochet cardigans (“It’s some \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">Asian grandma shit\u003c/a>,” he says with a laugh), is in a phenomenal mood. He and Yo-Eco haven’t seen each other in some time due to his rigorous MMA training schedule, and the two friends are elated.\u003c/p>\n\u003cfigure id=\"attachment_13939371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg\" alt=\"Two people sit in a room with a rack filled with clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco pose for a portrait at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They originally met in high school. Yo-Eco recalls how shortly after he started the brand in 2017 — “At the time, just words screen-printed on a T-shirt,” both concur — Lee would make the hour-and-a-half drive from Daly City to San Jose and back to pick up the T-shirts that Yo-Eco would then sell to his high school classmates out of the trunk of his car.\u003c/p>\n\u003cp>“It was mutual brotherly love,” says Lee. “It didn’t have to be T-shirts — it could’ve been anything. He could’ve opened a donut business, I would’ve gone to get dough or oil for him.”\u003c/p>\n\u003cp>In 2019, once the two graduated high school, Yo-Eco asked Lee — who knew how to build websites — to come on board as a co-owner of the brand and launch an online store. The two differ in many ways: Yo-Eco is reserved; Lee is extroverted. Yo-Eco is creative; Lee is more business-minded. They say that’s precisely what makes their partnership so fruitful.\u003c/p>\n\u003cp>“I’ll do the emails, file with the state, the financial stuff. But he’ll do the creative work, like the photoshoot at Lucky Three Seven or the designing, and I can train full time,” says Lee. “That’s why it works so well.”\u003c/p>\n\u003cfigure id=\"attachment_13939336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco (right) show their matching butterfly tattoos during a portrait session at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One commonality the two do share, though: the small butterfly tattoo that they both have on their middle finger. The two decided to get the matching tattoos on one of their many trips to LA when they’d drive down every two weeks with the intent of trying to get their clothes into the hands of rappers.\u003c/p>\n\u003cp>“The whole thing about butterflies starting as cocoons,” says Yo-Eco, referencing the tattoo. “We always had dreams that other people thought we were crazy for having. But we never doubted. We always knew we just had to stick to the script.”\u003c/p>\n\u003cfigure id=\"attachment_13938355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg\" alt=\"A purple sweatshirt with white lettering fills the photo frame. A hand is held in front.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enter Nostalgia co-founder Jaden Yo-Eco shows his ‘Nostalgia’ tattoo in Daly City on Nov. 17, 2023. Yo-Eco and his friend Humbert Lee created local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This shared blind faith — or “delusion” in the words of Yo-Eco and Lee — is what they both ultimately attribute their success to.\u003c/p>\n\u003cp>“I feel like even if we didn’t do Enter Nostalgia, we would’ve at the end been at the same place with anything else because of our mindset,” says Lee.\u003c/p>\n\u003cp>“It’s the same with anything in life,” agrees Yo-Eco. “To get somewhere, you have to be delusional about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>’s next collection comes out in 2024, and will be announced on \u003ca href=\"https://www.instagram.com/enternostalgia/?hl=en\">Instagram\u003c/a>. \u003c/em>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939157/enter-nostalgia-bay-area-filipino-american-fashion","authors":["byline_arts_13939157"],"categories":["arts_1","arts_835","arts_76"],"tags":["arts_8505","arts_1696","arts_10278"],"featImg":"arts_13938354","label":"arts"},"arts_13938668":{"type":"posts","id":"arts_13938668","meta":{"index":"posts_1591205157","site":"arts","id":"13938668","score":null,"sort":[1701457332000]},"guestAuthors":[],"slug":"meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team","title":"Meet the Designer for the B’s, Oakland’s New Homegrown Baseball Team","publishDate":1701457332,"format":"standard","headTitle":"Meet the Designer for the B’s, Oakland’s New Homegrown Baseball Team | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 2006, Too $hort imparted a timeless lesson on his song “Baller”: “You gotta keep tryin’, just don’t give up… How you gon’ ball if you got no hustle.”\u003c/p>\n\u003cp>With the tortured Oakland Athletics all but departed to Las Vegas, a group of Oaklanders — led by longtime friends and baseball fans Paul Freedman and Bryan Carmel — are doing just that. They’re dusting off, stepping back to the plate and exercising their ballerhood.\u003c/p>\n\u003cp>A new minor league baseball team, the Oakland B’s (short for Ballers), were publicly introduced on Nov. 28 at Laney College. Local figures — including Oakland Mayor Sheng Thao, Mistah F.A.B. and \u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">Hal the Hot Dog Guy\u003c/a> — were in attendance to show support.[aside postid='news_11968536']\u003c/p>\n\u003cp>The team will participate in the 84-year-old Pioneer Baseball League, an independent minor league system with 12 franchises scattered throughout the Mountain Time Zone. Oakland will become the league’s first coastal expansion, with \u003ca href=\"https://oaklandside.org/2023/11/28/new-baseball-team-oakland-ballers-pioneer-league/\">the team making a multi-million dollar swing to play at Laney’s baseball field next season.\u003c/a>\u003c/p>\n\u003cp>To some critics, simply choosing the next letter in the alphabet may seem like a lackadaisical effort to cover up an A’s-shaped hole left in Oakland. But those familiar with minor league baseball will know that it’s in line with the inventive — if not satirical — nature of lower-league teams, which are traditionally far less concerned with the status quo (ever heard of the \u003ca href=\"https://www.milb.com/montgomery\">Montgomery Biscuits\u003c/a> or \u003ca href=\"https://www.milb.com/rocket-city\">Rocket City Trash Pandas\u003c/a>?).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the B’s are no joke — and neither is their branding. The team’s logo was designed by \u003ca href=\"https://www.instagram.com/dustinocanalin/?hl=en\">Dustin O. Canalin\u003c/a>, who led Nike’s development team for “The Town” jerseys worn in the Golden State Warriors’ final seasons in Oakland. He also designed \u003ca href=\"https://alwaystrophyhunting.com/blogs/lookbooks/stephen-curry-2974-counting-hat\">the hat Steph Curry \u003c/a>wore after breaking the NBA’s three-point point record in 2021, and illustrated \u003ca href=\"https://www.dustinocanalin.com/blogbydoc/tag/Draymond+Green\">Draymond Green’s T-shirt \u003c/a>for the Warriors championship parade in 2022.\u003c/p>\n\u003cfigure id=\"attachment_13938725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dustin O. Canalin’s mood board for the Oakland Ballers includes sports history, local figures and aesthetic inspiration for old English fonts. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Canalin’s no rookie when it comes to baseball. He grew up near the Oakland Coliseum, playing shortstop on his high school team, where he befriended eventual MLB stars Dontrelle Willis and Jimmy Rollins. It’s also the sport that inspired his career as \u003ca href=\"https://alwaystrophyhunting.com/\">a current streetwear designer\u003c/a>.\u003c/p>\n\u003cp>The Ballers’ creative director spoke with KQED Arts about his inspiration for the team’s aesthetic, Oakland’s storied past and the East Bay’s abundance of hustling.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Did you listen to Too $hort’s song “Baller” when you were brainstorming ideas for this logo? What does being a baller mean to you?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Dustin O. Canalin\u003c/strong>: Being a “baller” has a lot of connotations and symbolism … and it really fit with Oakland as a culture and community, and what I grew up on. I scoured for songs, words and meanings of baller and player. So Too $hort definitely came up. There’s always a connection between sports and music in Oakland.\u003c/p>\n\u003cp>\u003cb>The B’s is very similar to the A’s. How intentional was that? Is it meant as a diss?\u003c/b>\u003c/p>\n\u003cp>The main idea was the B’s from the start. Any slights to the A’s kind of developed while digging more deeply into the creative side of it all. Something we didn’t want to do was a bootleg version of the A’s. In the Bay, there’s a lot of hometown pride where designers will make their own versions of something. We are building off heritage, identity … remembering the past and making sure we’re respectful. But we’re also making something new. From a design process, we started with a blank piece of paper.\u003c/p>\n\u003cfigure id=\"attachment_13938780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg\" alt=\"a green baseball cap with an emblazoned B in old English lettering\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1536x869.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Ballers will be known as the B’s, and hope to debut at Laney College Baseball Field in 2024. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How would you describe the voice and tone of the final product?\u003c/b>\u003c/p>\n\u003cp>We thought about the culture of Oakland, the fans, the feeling and impact we wanted to have, and then we boiled it down to what we ended up building around: a real cultural confidence. When you look at people who come from the Bay — whether it’s $hort, the Raiders, Bruce Lee, Damian Lillard, Mistah F.A.B. — they all have a certain DNA built into their personality. It’s a type of person with confidence.\u003c/p>\n\u003cp>\u003cb>When it comes to Oakland baseball, most fans will immediately think of the A’s. Did the forgotten legacies of other teams — like the Oakland Oaks, Larks and Commuters — come into play?\u003c/b>\u003c/p>\n\u003cp>I wanted to understand the lifespan of sports in Oakland. I looked at everyone — the Oaks, Invaders, Warriors, when the A’s arrived, why the Oaks left. What I realized is that besides the Raiders, Invaders and Oaks, all those other teams were inherited by Oakland. They weren’t created here. The A’s and Warriors came from Kansas City and Philadelphia. They already had those names. So as far as this century goes, the Ballers and Roots are the only teams that have built their own identity on what Oakland is today.\u003c/p>\n\u003cp>\u003cb>One of your original logo ideas included a power fist clenching a baseball, which reminded me of Black Panther Party imagery. What other ideas did you sift through? \u003c/b>\u003c/p>\n\u003cp>At first we looked at a diamond, the idea of a jewel, and we wanted to create an idea around stadiums as this diamond or medallion for a community. But it was too abstract. We also wanted to build off Oakland’s legacy [with] the Black Panthers. I’ve always thought their identity represented so much, and the language that was used throughout that generation has always been really powerful to me. But it’s not exactly what a sports team would need.[aside postid='arts_13921216']\u003c/p>\n\u003cp>When I worked on the Town uniform [for the Warriors], I kept seeing images from my memories and research of Old English fonts — from the \u003cem>Oakland Tribune\u003c/em> to the older teams like the Larks, even the bootleg T-shirts on East 14th. It’s iconic. That’s the direction that hit home for us. Having the home plate built into the letter was strategic. Oakland is home; this team is home. That shape was a touch to give this its own personality. We also didn’t want it to be overly obvious and overpowering. It’s subtle. Like they say, “It’s in you, not on you.”\u003c/p>\n\u003cp>\u003cb>What challenges did you face in creating a new logo for Oakland?\u003c/b>\u003c/p>\n\u003cp>First and foremost, I knew the team wanted to represent something good for the community, especially with the A’s transitioning out. So I wanted to make sure the team’s identity didn’t overpower that goodness. The logo represents that goodness in Oakland. It’s a silent ambassador of the brand and city.\u003c/p>\n\u003cp>And it should look cool. A’s hats are a staple in fashion. I took that challenge to develop a new hat, a new signature for the city, and to make it cool. The letter isn’t styled perfectly. It has an edge. That’s on a designer nerd tip. That look helps it to embody everything we wanted.\u003c/p>\n\u003cfigure id=\"attachment_13938724\" class=\"wp-caption alignnone\" style=\"max-width: 2475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"2475\" height=\"2475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg 2475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1920x1920.jpg 1920w\" sizes=\"(max-width: 2475px) 100vw, 2475px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers are only the second professional team to be birthed in Oakland since 2000. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Minor league baseball can be very tongue-in-cheek. Did you find any inspiration in the humor of the minors?\u003c/b>\u003c/p>\n\u003cp>Baseball has always been my favorite sport, from a design perspective. It’s from a time of everything being hand-drawn, hand-embroidered, not computer-generated like everything is today. So I’m inspired by that essence of baseball and old minor league logos.\u003c/p>\n\u003cp>But being from the Bay, we’re not a joke. These uniforms, we want them to be ready for battle, not to be walking billboards or clowns. There’s a feeling of seriousness in being from Oakland. Look at the Raiders and Warriors. There’s no joke there. I think for this uniform we just wanted to make something ill. We darkened the colors to create a dark, deep green. It’s inspired by overcast weather, that toughness and darkness.\u003c/p>\n\u003cp>\u003cb>What’s your hope for the Oakland Ballers?\u003c/b>\u003c/p>\n\u003cp>We’re not building anything that doesn’t already exist. The community is already there — we just needed a logo for it. I’ve gone to so many A’s games and barely watched the actual game. It’s about the experiences, the people, the tailgating, eating, hanging out. With pro baseball leaving Oakland … this team will be there for that now, to represent that. It’s one of those things that is happening quick, but the community is what will sustain it. Everything we’re doing is just providing the tools to go out and rep Oakland. It’s a lifestyle.\u003c/p>\n\u003cp>\u003cb>Why should Oakland’s sports fans, who have been through so much in recent years, give this upstart franchise a chance?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With this team, they’re really listening. This is not being managed by one person or a corporation, it’s built within the community, for the community. If you have a problem with it, your voice can get heard. There’s a permanent seat here for you. The experience will only be as good as the people make it.\u003c/p>\n\n","blocks":[],"excerpt":"The A’s are leaving town — but creative director Dustin O. Canalin says the Ballers will rep the community with pride.","status":"publish","parent":0,"modified":1705003035,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1688},"headData":{"title":"Meet the Designer for the B’s, Oakland’s New Homegrown Baseball Team | KQED","description":"The A’s are leaving town — but creative director Dustin O. Canalin says the Ballers will rep the community with pride.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet the Designer for the B’s, Oakland’s New Homegrown Baseball Team","datePublished":"2023-12-01T19:02:12.000Z","dateModified":"2024-01-11T19:57:15.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13938668/meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2006, Too $hort imparted a timeless lesson on his song “Baller”: “You gotta keep tryin’, just don’t give up… How you gon’ ball if you got no hustle.”\u003c/p>\n\u003cp>With the tortured Oakland Athletics all but departed to Las Vegas, a group of Oaklanders — led by longtime friends and baseball fans Paul Freedman and Bryan Carmel — are doing just that. They’re dusting off, stepping back to the plate and exercising their ballerhood.\u003c/p>\n\u003cp>A new minor league baseball team, the Oakland B’s (short for Ballers), were publicly introduced on Nov. 28 at Laney College. Local figures — including Oakland Mayor Sheng Thao, Mistah F.A.B. and \u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">Hal the Hot Dog Guy\u003c/a> — were in attendance to show support.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11968536","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The team will participate in the 84-year-old Pioneer Baseball League, an independent minor league system with 12 franchises scattered throughout the Mountain Time Zone. Oakland will become the league’s first coastal expansion, with \u003ca href=\"https://oaklandside.org/2023/11/28/new-baseball-team-oakland-ballers-pioneer-league/\">the team making a multi-million dollar swing to play at Laney’s baseball field next season.\u003c/a>\u003c/p>\n\u003cp>To some critics, simply choosing the next letter in the alphabet may seem like a lackadaisical effort to cover up an A’s-shaped hole left in Oakland. But those familiar with minor league baseball will know that it’s in line with the inventive — if not satirical — nature of lower-league teams, which are traditionally far less concerned with the status quo (ever heard of the \u003ca href=\"https://www.milb.com/montgomery\">Montgomery Biscuits\u003c/a> or \u003ca href=\"https://www.milb.com/rocket-city\">Rocket City Trash Pandas\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>Still, the B’s are no joke — and neither is their branding. The team’s logo was designed by \u003ca href=\"https://www.instagram.com/dustinocanalin/?hl=en\">Dustin O. Canalin\u003c/a>, who led Nike’s development team for “The Town” jerseys worn in the Golden State Warriors’ final seasons in Oakland. He also designed \u003ca href=\"https://alwaystrophyhunting.com/blogs/lookbooks/stephen-curry-2974-counting-hat\">the hat Steph Curry \u003c/a>wore after breaking the NBA’s three-point point record in 2021, and illustrated \u003ca href=\"https://www.dustinocanalin.com/blogbydoc/tag/Draymond+Green\">Draymond Green’s T-shirt \u003c/a>for the Warriors championship parade in 2022.\u003c/p>\n\u003cfigure id=\"attachment_13938725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dustin O. Canalin’s mood board for the Oakland Ballers includes sports history, local figures and aesthetic inspiration for old English fonts. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Canalin’s no rookie when it comes to baseball. He grew up near the Oakland Coliseum, playing shortstop on his high school team, where he befriended eventual MLB stars Dontrelle Willis and Jimmy Rollins. It’s also the sport that inspired his career as \u003ca href=\"https://alwaystrophyhunting.com/\">a current streetwear designer\u003c/a>.\u003c/p>\n\u003cp>The Ballers’ creative director spoke with KQED Arts about his inspiration for the team’s aesthetic, Oakland’s storied past and the East Bay’s abundance of hustling.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Did you listen to Too $hort’s song “Baller” when you were brainstorming ideas for this logo? What does being a baller mean to you?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Dustin O. Canalin\u003c/strong>: Being a “baller” has a lot of connotations and symbolism … and it really fit with Oakland as a culture and community, and what I grew up on. I scoured for songs, words and meanings of baller and player. So Too $hort definitely came up. There’s always a connection between sports and music in Oakland.\u003c/p>\n\u003cp>\u003cb>The B’s is very similar to the A’s. How intentional was that? Is it meant as a diss?\u003c/b>\u003c/p>\n\u003cp>The main idea was the B’s from the start. Any slights to the A’s kind of developed while digging more deeply into the creative side of it all. Something we didn’t want to do was a bootleg version of the A’s. In the Bay, there’s a lot of hometown pride where designers will make their own versions of something. We are building off heritage, identity … remembering the past and making sure we’re respectful. But we’re also making something new. From a design process, we started with a blank piece of paper.\u003c/p>\n\u003cfigure id=\"attachment_13938780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg\" alt=\"a green baseball cap with an emblazoned B in old English lettering\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1536x869.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Ballers will be known as the B’s, and hope to debut at Laney College Baseball Field in 2024. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How would you describe the voice and tone of the final product?\u003c/b>\u003c/p>\n\u003cp>We thought about the culture of Oakland, the fans, the feeling and impact we wanted to have, and then we boiled it down to what we ended up building around: a real cultural confidence. When you look at people who come from the Bay — whether it’s $hort, the Raiders, Bruce Lee, Damian Lillard, Mistah F.A.B. — they all have a certain DNA built into their personality. It’s a type of person with confidence.\u003c/p>\n\u003cp>\u003cb>When it comes to Oakland baseball, most fans will immediately think of the A’s. Did the forgotten legacies of other teams — like the Oakland Oaks, Larks and Commuters — come into play?\u003c/b>\u003c/p>\n\u003cp>I wanted to understand the lifespan of sports in Oakland. I looked at everyone — the Oaks, Invaders, Warriors, when the A’s arrived, why the Oaks left. What I realized is that besides the Raiders, Invaders and Oaks, all those other teams were inherited by Oakland. They weren’t created here. The A’s and Warriors came from Kansas City and Philadelphia. They already had those names. So as far as this century goes, the Ballers and Roots are the only teams that have built their own identity on what Oakland is today.\u003c/p>\n\u003cp>\u003cb>One of your original logo ideas included a power fist clenching a baseball, which reminded me of Black Panther Party imagery. What other ideas did you sift through? \u003c/b>\u003c/p>\n\u003cp>At first we looked at a diamond, the idea of a jewel, and we wanted to create an idea around stadiums as this diamond or medallion for a community. But it was too abstract. We also wanted to build off Oakland’s legacy [with] the Black Panthers. I’ve always thought their identity represented so much, and the language that was used throughout that generation has always been really powerful to me. But it’s not exactly what a sports team would need.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13921216","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I worked on the Town uniform [for the Warriors], I kept seeing images from my memories and research of Old English fonts — from the \u003cem>Oakland Tribune\u003c/em> to the older teams like the Larks, even the bootleg T-shirts on East 14th. It’s iconic. That’s the direction that hit home for us. Having the home plate built into the letter was strategic. Oakland is home; this team is home. That shape was a touch to give this its own personality. We also didn’t want it to be overly obvious and overpowering. It’s subtle. Like they say, “It’s in you, not on you.”\u003c/p>\n\u003cp>\u003cb>What challenges did you face in creating a new logo for Oakland?\u003c/b>\u003c/p>\n\u003cp>First and foremost, I knew the team wanted to represent something good for the community, especially with the A’s transitioning out. So I wanted to make sure the team’s identity didn’t overpower that goodness. The logo represents that goodness in Oakland. It’s a silent ambassador of the brand and city.\u003c/p>\n\u003cp>And it should look cool. A’s hats are a staple in fashion. I took that challenge to develop a new hat, a new signature for the city, and to make it cool. The letter isn’t styled perfectly. It has an edge. That’s on a designer nerd tip. That look helps it to embody everything we wanted.\u003c/p>\n\u003cfigure id=\"attachment_13938724\" class=\"wp-caption alignnone\" style=\"max-width: 2475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"2475\" height=\"2475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg 2475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1920x1920.jpg 1920w\" sizes=\"(max-width: 2475px) 100vw, 2475px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers are only the second professional team to be birthed in Oakland since 2000. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Minor league baseball can be very tongue-in-cheek. Did you find any inspiration in the humor of the minors?\u003c/b>\u003c/p>\n\u003cp>Baseball has always been my favorite sport, from a design perspective. It’s from a time of everything being hand-drawn, hand-embroidered, not computer-generated like everything is today. So I’m inspired by that essence of baseball and old minor league logos.\u003c/p>\n\u003cp>But being from the Bay, we’re not a joke. These uniforms, we want them to be ready for battle, not to be walking billboards or clowns. There’s a feeling of seriousness in being from Oakland. Look at the Raiders and Warriors. There’s no joke there. I think for this uniform we just wanted to make something ill. We darkened the colors to create a dark, deep green. It’s inspired by overcast weather, that toughness and darkness.\u003c/p>\n\u003cp>\u003cb>What’s your hope for the Oakland Ballers?\u003c/b>\u003c/p>\n\u003cp>We’re not building anything that doesn’t already exist. The community is already there — we just needed a logo for it. I’ve gone to so many A’s games and barely watched the actual game. It’s about the experiences, the people, the tailgating, eating, hanging out. With pro baseball leaving Oakland … this team will be there for that now, to represent that. It’s one of those things that is happening quick, but the community is what will sustain it. Everything we’re doing is just providing the tools to go out and rep Oakland. It’s a lifestyle.\u003c/p>\n\u003cp>\u003cb>Why should Oakland’s sports fans, who have been through so much in recent years, give this upstart franchise a chance?\u003c/b>\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>With this team, they’re really listening. This is not being managed by one person or a corporation, it’s built within the community, for the community. If you have a problem with it, your voice can get heard. There’s a permanent seat here for you. The experience will only be as good as the people make it.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938668/meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team","authors":["11748"],"categories":["arts_1","arts_835"],"tags":["arts_10092","arts_1696","arts_10278","arts_1143","arts_1551","arts_21764"],"featImg":"arts_13938728","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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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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