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"content": "\u003cp>Long before she touched a sewing machine, \u003ca href=\"https://www.haemilee.com\">Haemi Lee\u003c/a> found whimsy and beauty in ordinary moments.\u003c/p>\n\u003cp>As a child, she would bask in the sight of her mother getting ready in their Oakland home, paying close attention to which clothes she picked out. She loved Disney films like \u003cem>Fantasia\u003c/em> and would spend her afternoons drawing princesses in big, beautiful gowns. \u003cem>Fantasia\u003c/em>, with its vibrant colors, alluring music and fantastical creatures, inspired Lee to conceptualize her own imaginative worlds. [aside postid='arts_13984224']\u003c/p>\n\u003cp>Now 23 years old, Lee has brought her fantasies to fruition. The recent Academy of Art graduate will showcase her collection, \u003cem>Shape of God\u003c/em>, in the fifth-annual \u003ca href=\"https://www.sffashionpr.com/eventss\">San Francisco Fashion Festival\u003c/a>, happening Dec. 5-6. This year’s theme, “Fantasia,” marks a full-circle moment for Lee.\u003c/p>\n\u003cp>Her \u003cem>Shape of God\u003c/em> collection explores spirituality and imagination. Inspired by her Christian faith and the concept of infinity, Lee uses bright, vibrant colors to represent wholeness, pairing draped fabrics and flowing silhouettes to evoke an all-powerful being folding into human form.\u003c/p>\n\u003cp>“I wanted to explore what it actually means to be this all-knowing being who transcends space and time,” Lee said.\u003c/p>\n\u003cfigure id=\"attachment_13984407\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984407\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Haemi Lee’s ‘Shape of God’ collection is inspired by her spirituality. \u003ccite>(Courtesy of Haemi Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two-day event will commence with a workshop on Friday night, featuring a talk from international fashion consultant Alejandra Boland from 5–7 p.m. at Hotel Emblem. The festival will then shift gears on Saturday and move to Sandbox VR from 4–9p.m.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A variety of vendors will showcase their products and businesses while five runway shows and three panels will take place throughout the event. For the second year, the festival is partnering with \u003ca href=\"https://www.sfdress.org/\">Dress for Success\u003c/a>, a non-profit organization that provides women with professional clothing and job-search support. Each designer has donated either a designer product or luxury experience to put up in a silent auction.\u003c/p>\n\u003cp>“[The theme] Fantasia’s very ethereal and really personal to me,” said Melissa Dulanto, founder and CEO of the festival. “It’s my sense of personal fashion. I love to dive into a different reality when I seek inspiration, and I love ethereal creatures and different shapes and forms of the animals in mythological literature, so Fantasia brings out our fantasies within this theme.”\u003c/p>\n\u003cfigure id=\"attachment_13984408\" class=\"wp-caption aligncenter\" style=\"max-width: 1475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111.jpg\" alt=\"A fashion designer in a white, silky outfit walks the runway next to two models in white silk dresses with elaborate headpieces. \" width=\"1475\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111.jpg 1475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111-1133x1536.jpg 1133w\" sizes=\"auto, (max-width: 1475px) 100vw, 1475px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Vuu (center) is a featured designer at San Francisco Fashion Festival. \u003ccite>(Arun Nevader/Getty Images for Art Hearts Fashion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another featured designer is San Mateo resident \u003ca href=\"https://ashlynso.com/\">Ashlyn So\u003c/a>, who first made her fashion debut at 12 years old during the COVID-19 pandemic, when she gained traction for making masks for healthcare workers across the U.S. Amid the Stop Asian Hate Movement, she began using \u003ca href=\"https://abc7news.com/videoClip/10451244/?userab=abc_web_player-460*variant_b_abc_dmp-1901%2Cotv_web_player-461*variant_a_otv_control-1902\">fashion as a platform for her activism\u003c/a>.\u003c/p>\n\u003cp>Now 17, So has shown her designs at Fashion Week in New York and Paris. Her latest project, \u003cem>Recolored\u003c/em>, which debuted at New York Fashion Week, will be part of SF Fashion Festival — her first time exhibiting her work in the Bay Area. [aside postid='arts_13964383']\u003c/p>\n\u003cp>Inspired by a documentary she watched in her biology class about coral bleaching, So designed 12 dresses that reflect the different phases in the bleaching process, mimicking the unique patterns found in nature, with vivid colors and textures that mirror the transformation of the ocean ecosystem.\u003c/p>\n\u003cp>“I realize I have a platform where I’m able to advocate and shed more light on things,” So said. “When I see all these issues, I see something that I want to change, something that I want to create art around and start conversations about. I think that’s really important.”\u003c/p>\n\u003cfigure id=\"attachment_13984411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-scaled.jpg\" alt=\"Backstage at New York Fashion Week, a designer poses with models wearing her pastel-hued gowns made of organic, coral-like shapes. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Mateo designer Ashlyn So’s latest collection, which debuted at New York Fashion Week, takes inspiration from coral reefs. \u003ccite>(Bryon Chris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Young designers like Lee and So are part of a growing community of couture designers in the Bay Area. Local fashion collectives, pop-up shows and independent ateliers are creating spaces for creativity to flourish.\u003c/p>\n\u003cp>Lee says she has felt pressure to leave the Bay Area to pursue a career in cities like New York or Paris. The festival is a big step for her in finding a community while also showing how the Bay Area has room to grow in the fashion industry.\u003c/p>\n\u003cp>“I have such a strong love for the Bay Area, for Oakland, where I am right now, and for the people,” Lee said. “The Bay Area itself is such a great creative hub for so many artists. … I’ve always wanted to remain here and, in whatever ways that I could, contribute to the growth of the arts of this place — especially in fashion, which I’m so passionate about.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sffashionpr.com/eventss\">San Francisco Fashion Festival\u003c/a> will take place Dec. 5–6 at various locations. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Runway shows by local designers, workshops and other events will take over the city Dec. 5–6. ",
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"title": "San Francisco Fashion Festival Showcases Bay Couture | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before she touched a sewing machine, \u003ca href=\"https://www.haemilee.com\">Haemi Lee\u003c/a> found whimsy and beauty in ordinary moments.\u003c/p>\n\u003cp>As a child, she would bask in the sight of her mother getting ready in their Oakland home, paying close attention to which clothes she picked out. She loved Disney films like \u003cem>Fantasia\u003c/em> and would spend her afternoons drawing princesses in big, beautiful gowns. \u003cem>Fantasia\u003c/em>, with its vibrant colors, alluring music and fantastical creatures, inspired Lee to conceptualize her own imaginative worlds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now 23 years old, Lee has brought her fantasies to fruition. The recent Academy of Art graduate will showcase her collection, \u003cem>Shape of God\u003c/em>, in the fifth-annual \u003ca href=\"https://www.sffashionpr.com/eventss\">San Francisco Fashion Festival\u003c/a>, happening Dec. 5-6. This year’s theme, “Fantasia,” marks a full-circle moment for Lee.\u003c/p>\n\u003cp>Her \u003cem>Shape of God\u003c/em> collection explores spirituality and imagination. Inspired by her Christian faith and the concept of infinity, Lee uses bright, vibrant colors to represent wholeness, pairing draped fabrics and flowing silhouettes to evoke an all-powerful being folding into human form.\u003c/p>\n\u003cp>“I wanted to explore what it actually means to be this all-knowing being who transcends space and time,” Lee said.\u003c/p>\n\u003cfigure id=\"attachment_13984407\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984407\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit.jpg\" alt=\"\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Nikon-26884-Edit-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Haemi Lee’s ‘Shape of God’ collection is inspired by her spirituality. \u003ccite>(Courtesy of Haemi Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two-day event will commence with a workshop on Friday night, featuring a talk from international fashion consultant Alejandra Boland from 5–7 p.m. at Hotel Emblem. The festival will then shift gears on Saturday and move to Sandbox VR from 4–9p.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A variety of vendors will showcase their products and businesses while five runway shows and three panels will take place throughout the event. For the second year, the festival is partnering with \u003ca href=\"https://www.sfdress.org/\">Dress for Success\u003c/a>, a non-profit organization that provides women with professional clothing and job-search support. Each designer has donated either a designer product or luxury experience to put up in a silent auction.\u003c/p>\n\u003cp>“[The theme] Fantasia’s very ethereal and really personal to me,” said Melissa Dulanto, founder and CEO of the festival. “It’s my sense of personal fashion. I love to dive into a different reality when I seek inspiration, and I love ethereal creatures and different shapes and forms of the animals in mythological literature, so Fantasia brings out our fantasies within this theme.”\u003c/p>\n\u003cfigure id=\"attachment_13984408\" class=\"wp-caption aligncenter\" style=\"max-width: 1475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111.jpg\" alt=\"A fashion designer in a white, silky outfit walks the runway next to two models in white silk dresses with elaborate headpieces. \" width=\"1475\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111.jpg 1475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/11319382111-1133x1536.jpg 1133w\" sizes=\"auto, (max-width: 1475px) 100vw, 1475px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Vuu (center) is a featured designer at San Francisco Fashion Festival. \u003ccite>(Arun Nevader/Getty Images for Art Hearts Fashion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another featured designer is San Mateo resident \u003ca href=\"https://ashlynso.com/\">Ashlyn So\u003c/a>, who first made her fashion debut at 12 years old during the COVID-19 pandemic, when she gained traction for making masks for healthcare workers across the U.S. Amid the Stop Asian Hate Movement, she began using \u003ca href=\"https://abc7news.com/videoClip/10451244/?userab=abc_web_player-460*variant_b_abc_dmp-1901%2Cotv_web_player-461*variant_a_otv_control-1902\">fashion as a platform for her activism\u003c/a>.\u003c/p>\n\u003cp>Now 17, So has shown her designs at Fashion Week in New York and Paris. Her latest project, \u003cem>Recolored\u003c/em>, which debuted at New York Fashion Week, will be part of SF Fashion Festival — her first time exhibiting her work in the Bay Area. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inspired by a documentary she watched in her biology class about coral bleaching, So designed 12 dresses that reflect the different phases in the bleaching process, mimicking the unique patterns found in nature, with vivid colors and textures that mirror the transformation of the ocean ecosystem.\u003c/p>\n\u003cp>“I realize I have a platform where I’m able to advocate and shed more light on things,” So said. “When I see all these issues, I see something that I want to change, something that I want to create art around and start conversations about. I think that’s really important.”\u003c/p>\n\u003cfigure id=\"attachment_13984411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-scaled.jpg\" alt=\"Backstage at New York Fashion Week, a designer poses with models wearing her pastel-hued gowns made of organic, coral-like shapes. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Ashlyn-So-NYFW2025-byBryonChris_G4A4459-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Mateo designer Ashlyn So’s latest collection, which debuted at New York Fashion Week, takes inspiration from coral reefs. \u003ccite>(Bryon Chris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Young designers like Lee and So are part of a growing community of couture designers in the Bay Area. Local fashion collectives, pop-up shows and independent ateliers are creating spaces for creativity to flourish.\u003c/p>\n\u003cp>Lee says she has felt pressure to leave the Bay Area to pursue a career in cities like New York or Paris. The festival is a big step for her in finding a community while also showing how the Bay Area has room to grow in the fashion industry.\u003c/p>\n\u003cp>“I have such a strong love for the Bay Area, for Oakland, where I am right now, and for the people,” Lee said. “The Bay Area itself is such a great creative hub for so many artists. … I’ve always wanted to remain here and, in whatever ways that I could, contribute to the growth of the arts of this place — especially in fashion, which I’m so passionate about.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sffashionpr.com/eventss\">San Francisco Fashion Festival\u003c/a> will take place Dec. 5–6 at various locations. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-2025-fashion-controversy-labubu-balletcore",
"title": "The Best (and Most Polarizing) Fashion Developments of 2025",
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"content": "\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trends ebb and flow faster than ever now. In 2025, the blink-and-you’ll-miss-it fashion cycle moved so quickly that when a new trend emerged, you were tasked with immediately deciding if you loved it or hated it, lest you be left out of the loop altogether.\u003c/p>\n\u003cp>From avant-garde footwear to plush collectibles, the most talked-about trends of the year were both polarizing and coveted in equal measure. Here are five fashion developments from 2025 that just might have had you feeling conflicted.\u003c/p>\n\u003cfigure id=\"attachment_13984233\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818.jpg\" alt=\"\" width=\"2000\" height=\"1392\" class=\"size-full wp-image-13984233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818-1536x1069.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tabi boots originated in Japan, but took off in the U.S. in 2025. \u003ccite>(DigiPub/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tabi shoes: Good hoof or bad hoof?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.teenvogue.com/story/the-history-of-tabis\">Tabi footwear\u003c/a> has long occupied the space between cultural influence and contemporary high-fashion experimentation, with designers like Maison Mergiela bringing the style into the mainstream. A bold reinterpretation for 2025, the split-toe leather shoe is inspired by traditional Japanese tabi socks often worn with thonged footwear like zori or geta sandals. \u003c/p>\n\u003cp>At a quick glance, the shoe’s silhouette is unassuming, but it’s the details that matter. Just like the shoe, consumers are split down the middle on this hoof-like design. \u003c/p>\n\u003cfigure id=\"attachment_13984230\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers.jpg\" alt=\"\" width=\"2000\" height=\"1063\" class=\"size-full wp-image-13984230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers-1536x816.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So we’re all ballerinas now? That’s what’s happening? The suede Speedcat Ballet sneaker from Puma seems to say as much. \u003ccite>(Puma )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Athleisure + the barre = ballet flat sneakers\u003c/h2>\n\u003cp>Fashion enthusiasts aren’t strangers to the “broquette” style, which blends a sporty aesthetic with a feminine coquette twist. Think jerseys, soccer shorts, bows and kitten heels paired with striped sporty socks. It was probably inevitable that the sneaker and ballet flat would fuse into a “sneakerina” shoe, offering a ballerina-inspired feel with the benefit of comfort. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brands like \u003ca href=\"https://us.puma.com/us/en/pd/speedcat-ballet-suede-womens-sneakers/401287?srsltid=AfmBOopCCCDkDZfoT391cn4bswouD1etOnLjQiJAmq7IjLSkk5vUexGm\">Puma\u003c/a>, \u003ca href=\"https://www.onitsukatiger.com/jp/en-gl/product/mexico-66-tgrs/1182a678_700.html?srsltid=AfmBOoq3HES1JRnxwpE2xq8Qvi7sY2eEhIp0uYEdzvUIVxoP1MWeCjOL\">Onitsuka Tiger\u003c/a> and \u003ca href=\"https://www.farfetch.com/shopping/women/miu-miu-gymnasium-ballerina-shoes-item-28538778.aspx\">Miu Miu\u003c/a> all have variations of the coveted ballet sneaker, though you can universally expect a rubber sole and some kind of securing strap or lace. Bella Hadid, whose divisive style sparks discourse about what fashion-forward \u003ci>really\u003c/i> looks like, has been \u003ca href=\"https://theglossarymagazine.com/fashion/sneakerina-ballet-trainers/\">spotted\u003c/a> with the statement sneaker on, sparking the debate on whether or not the sneakerina is actually chic or just a shameless addition to your wardrobe. \u003c/p>\n\u003cfigure id=\"attachment_13984231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Seven Labubus — Loyalty, Happiness, Luck, Hope, Serenity, Love and Secret — are pictured on the purse straps of a passerby in Paris, France, on June 12, 2025. \u003ccite>(Edward Berthelot/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>OK, fine, let’s talk Labubus \u003c/h2>\n\u003cp>Labubus, Crybabys, Skull Pandas and other small stuffed key chains adorned purse straps, backpack zippers and belt loops worldwide in 2025. The argument for these tiny toys: There’s nothing wrong with engaging in a little childlike whimsy. They’re a conversation starter, a form of self-expression. So why have they been so polarizing? \u003c/p>\n\u003cp>Much of the debate stems from how fans of this trend are acquiring them through luck-of-the-draw blind boxes. This mechanic encourages people to buy multiples, just in case they don’t get the one they were hoping for. This raises the question: Are we healing our inner child by finding joy in small toys, or have we succumbed to overconsumption yet again? \u003c/p>\n\u003cp>Purse accessories aren’t new, but exclusivity played a major role in the rising fame of these products. Labubus, the \u003ca href=\"https://www.npr.org/2025/06/18/g-s1-72939/what-is-labubu-pop-mart-explained#:~:text=Before%20they%20became%20highly%20sought,so%20many%20people%20love%20it.%22\">brainchild of Kasing Lung,\u003c/a> made their keychain-form debut in collaboration with Pop Mart in 2019 and became popular across Asia. By the time they reached Western mainstream trends, they were already a global phenomenon. With Pop Mart’s drops selling out quickly, a new market has been introduced for resellers. \u003c/p>\n\u003cp>With certain collectible toys suddenly deemed “rare,” it only made sense that those who secured one found ways to show it off. \u003c/p>\n\u003cfigure id=\"attachment_13984234\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Model Nina Sandbech shows off a bubble skirt amid the ongoing balletcore trend. \u003ccite>(Christian Vierig/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bubble skirts: Tutus, but make it fashion\u003c/h2>\n\u003cp>Are we just gravitating towards the ballerina aesthetic for everyday wear now? Reminiscent of a tutu, the bubble skirt circled back from the early 2000s to become a defining trend in 2025. Puffed hems and exaggerated volume make them hard to miss, and embracing them as a statement piece allows wearers to make their outfit visually interesting (though some may think it’s \u003ci>too\u003c/i> interesting).\u003c/p>\n\u003cp>Pushing back against past seasons’ hyper-minimalist trends of slicked-back hair and “no-makeup” makeup looks, the bubble skirt – whether in a maxi, midi or mini length – treads the space between confidently expressive and unapologetically extra. \u003c/p>\n\u003cfigure id=\"attachment_13984235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2.jpg\" alt=\"An Asian woman with long black hair and a loose-fitting charcoal top and pants holds a neon yellow thingamajig over her arm\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13984235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Is it a sock? A sling? An overpriced sold-out piece of fabric? Behold, for better or worse, the iPhone Pocket. \u003ccite>(Apple Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The iPhone Pocket: A $230 sock?\u003c/h2>\n\u003cp>What a way to end the year. Just when we thought Apple had made its big polarizing statement by designing a camera that dominates the top half of the iPhone 17, the company introduced a new accessory for carrying your device: the \u003ca href=\"https://www.apple.com/newsroom/2025/11/introducing-iphone-pocket-a-beautiful-way-to-wear-and-carry-iphone/\">iPhone Pocket\u003c/a>. A collaboration between Apple and Japanese luxury brand Issey Miyake – who did, in fact, design \u003ca href=\"https://www.businessinsider.com/steve-jobs-iconic-black-turtleneck-by-issey-miyake-costs-270-2017-6\">Steve Jobs’ turtlenecks\u003c/a> – the knit-sock-resembling iPhone pocket comes in eight different colors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The biggest issue is the price point. Retailing at about $150 for the short-strap version and $230 for the long strap, the pocket — reminiscent of the iPod Sock — isn’t a functional necessity so much as another product to add to your Apple ecosystem. Nevertheless, despite having just dropped in November, it’s completely sold out. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trends ebb and flow faster than ever now. In 2025, the blink-and-you’ll-miss-it fashion cycle moved so quickly that when a new trend emerged, you were tasked with immediately deciding if you loved it or hated it, lest you be left out of the loop altogether.\u003c/p>\n\u003cp>From avant-garde footwear to plush collectibles, the most talked-about trends of the year were both polarizing and coveted in equal measure. Here are five fashion developments from 2025 that just might have had you feeling conflicted.\u003c/p>\n\u003cfigure id=\"attachment_13984233\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818.jpg\" alt=\"\" width=\"2000\" height=\"1392\" class=\"size-full wp-image-13984233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1292391818-1536x1069.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tabi boots originated in Japan, but took off in the U.S. in 2025. \u003ccite>(DigiPub/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tabi shoes: Good hoof or bad hoof?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.teenvogue.com/story/the-history-of-tabis\">Tabi footwear\u003c/a> has long occupied the space between cultural influence and contemporary high-fashion experimentation, with designers like Maison Mergiela bringing the style into the mainstream. A bold reinterpretation for 2025, the split-toe leather shoe is inspired by traditional Japanese tabi socks often worn with thonged footwear like zori or geta sandals. \u003c/p>\n\u003cp>At a quick glance, the shoe’s silhouette is unassuming, but it’s the details that matter. Just like the shoe, consumers are split down the middle on this hoof-like design. \u003c/p>\n\u003cfigure id=\"attachment_13984230\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers.jpg\" alt=\"\" width=\"2000\" height=\"1063\" class=\"size-full wp-image-13984230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Speedcat-Ballet-Suede-Womens-Sneakers-1536x816.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So we’re all ballerinas now? That’s what’s happening? The suede Speedcat Ballet sneaker from Puma seems to say as much. \u003ccite>(Puma )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Athleisure + the barre = ballet flat sneakers\u003c/h2>\n\u003cp>Fashion enthusiasts aren’t strangers to the “broquette” style, which blends a sporty aesthetic with a feminine coquette twist. Think jerseys, soccer shorts, bows and kitten heels paired with striped sporty socks. It was probably inevitable that the sneaker and ballet flat would fuse into a “sneakerina” shoe, offering a ballerina-inspired feel with the benefit of comfort. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brands like \u003ca href=\"https://us.puma.com/us/en/pd/speedcat-ballet-suede-womens-sneakers/401287?srsltid=AfmBOopCCCDkDZfoT391cn4bswouD1etOnLjQiJAmq7IjLSkk5vUexGm\">Puma\u003c/a>, \u003ca href=\"https://www.onitsukatiger.com/jp/en-gl/product/mexico-66-tgrs/1182a678_700.html?srsltid=AfmBOoq3HES1JRnxwpE2xq8Qvi7sY2eEhIp0uYEdzvUIVxoP1MWeCjOL\">Onitsuka Tiger\u003c/a> and \u003ca href=\"https://www.farfetch.com/shopping/women/miu-miu-gymnasium-ballerina-shoes-item-28538778.aspx\">Miu Miu\u003c/a> all have variations of the coveted ballet sneaker, though you can universally expect a rubber sole and some kind of securing strap or lace. Bella Hadid, whose divisive style sparks discourse about what fashion-forward \u003ci>really\u003c/i> looks like, has been \u003ca href=\"https://theglossarymagazine.com/fashion/sneakerina-ballet-trainers/\">spotted\u003c/a> with the statement sneaker on, sparking the debate on whether or not the sneakerina is actually chic or just a shameless addition to your wardrobe. \u003c/p>\n\u003cfigure id=\"attachment_13984231\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-2219860836-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Seven Labubus — Loyalty, Happiness, Luck, Hope, Serenity, Love and Secret — are pictured on the purse straps of a passerby in Paris, France, on June 12, 2025. \u003ccite>(Edward Berthelot/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>OK, fine, let’s talk Labubus \u003c/h2>\n\u003cp>Labubus, Crybabys, Skull Pandas and other small stuffed key chains adorned purse straps, backpack zippers and belt loops worldwide in 2025. The argument for these tiny toys: There’s nothing wrong with engaging in a little childlike whimsy. They’re a conversation starter, a form of self-expression. So why have they been so polarizing? \u003c/p>\n\u003cp>Much of the debate stems from how fans of this trend are acquiring them through luck-of-the-draw blind boxes. This mechanic encourages people to buy multiples, just in case they don’t get the one they were hoping for. This raises the question: Are we healing our inner child by finding joy in small toys, or have we succumbed to overconsumption yet again? \u003c/p>\n\u003cp>Purse accessories aren’t new, but exclusivity played a major role in the rising fame of these products. Labubus, the \u003ca href=\"https://www.npr.org/2025/06/18/g-s1-72939/what-is-labubu-pop-mart-explained#:~:text=Before%20they%20became%20highly%20sought,so%20many%20people%20love%20it.%22\">brainchild of Kasing Lung,\u003c/a> made their keychain-form debut in collaboration with Pop Mart in 2019 and became popular across Asia. By the time they reached Western mainstream trends, they were already a global phenomenon. With Pop Mart’s drops selling out quickly, a new market has been introduced for resellers. \u003c/p>\n\u003cp>With certain collectible toys suddenly deemed “rare,” it only made sense that those who secured one found ways to show it off. \u003c/p>\n\u003cfigure id=\"attachment_13984234\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/GettyImages-1610170429-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Model Nina Sandbech shows off a bubble skirt amid the ongoing balletcore trend. \u003ccite>(Christian Vierig/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bubble skirts: Tutus, but make it fashion\u003c/h2>\n\u003cp>Are we just gravitating towards the ballerina aesthetic for everyday wear now? Reminiscent of a tutu, the bubble skirt circled back from the early 2000s to become a defining trend in 2025. Puffed hems and exaggerated volume make them hard to miss, and embracing them as a statement piece allows wearers to make their outfit visually interesting (though some may think it’s \u003ci>too\u003c/i> interesting).\u003c/p>\n\u003cp>Pushing back against past seasons’ hyper-minimalist trends of slicked-back hair and “no-makeup” makeup looks, the bubble skirt – whether in a maxi, midi or mini length – treads the space between confidently expressive and unapologetically extra. \u003c/p>\n\u003cfigure id=\"attachment_13984235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2.jpg\" alt=\"An Asian woman with long black hair and a loose-fitting charcoal top and pants holds a neon yellow thingamajig over her arm\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13984235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/HS8R2_AV2-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Is it a sock? A sling? An overpriced sold-out piece of fabric? Behold, for better or worse, the iPhone Pocket. \u003ccite>(Apple Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The iPhone Pocket: A $230 sock?\u003c/h2>\n\u003cp>What a way to end the year. Just when we thought Apple had made its big polarizing statement by designing a camera that dominates the top half of the iPhone 17, the company introduced a new accessory for carrying your device: the \u003ca href=\"https://www.apple.com/newsroom/2025/11/introducing-iphone-pocket-a-beautiful-way-to-wear-and-carry-iphone/\">iPhone Pocket\u003c/a>. A collaboration between Apple and Japanese luxury brand Issey Miyake – who did, in fact, design \u003ca href=\"https://www.businessinsider.com/steve-jobs-iconic-black-turtleneck-by-issey-miyake-costs-270-2017-6\">Steve Jobs’ turtlenecks\u003c/a> – the knit-sock-resembling iPhone pocket comes in eight different colors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The biggest issue is the price point. Retailing at about $150 for the short-strap version and $230 for the long strap, the pocket — reminiscent of the iPod Sock — isn’t a functional necessity so much as another product to add to your Apple ecosystem. Nevertheless, despite having just dropped in November, it’s completely sold out. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jeans-kurt-cobain-freddie-mercury-beyonce-on-show-levis-headquarters-san-francisco",
"title": "Learning About Kurt Cobain, Freddie Mercury and Beyoncé From Their Denim",
"publishDate": 1763737485,
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"headTitle": "Learning About Kurt Cobain, Freddie Mercury and Beyoncé From Their Denim | KQED",
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"content": "\u003cfigure id=\"attachment_13983989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans.png\" alt=\"A pair of ripped and patched-up blue jeans stand on mannequin legs in the center of a display, in front of a photo of Kurt Cobain from Nirvana, performing on stage.\" width=\"2000\" height=\"1873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-160x150.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-768x719.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-1536x1438.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Levi’s 501 jeans worn by Kurt Cobain, including in the video for ‘Heart-Shaped Box.’ \u003ccite>(Loaned by Tom Coyne/David Fenton for Levi’s/Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pop music is full of references to denim. From the opening lyrics of \u003ca href=\"https://www.kqed.org/arts/13858541/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\">Elton John\u003c/a>’s “Tiny Dancer” — “Blue jean baby” — to Flo Rida’s ode to an Apple Bottoms pair in “Low.”\u003c/p>\n\u003cp>But musicians don’t just sing about jeans. They also live in them. And those garments sometimes reveal intriguing details about the people who wear them, as the new \u003ca href=\"https://www.levistrauss.com/2025/11/05/levis-vault-reopens/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amped: Music Icons in Levi’s Denim\u003c/em>\u003c/a> exhibition at Levi’s headquarters in San Francisco shows.\u003c/p>\n\u003cp>[aside postid='arts_13982946']One of the exhibition’s marquee items is a pair of Levi’s 501s once owned by \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a>. The late Nirvana frontman’s jeans set a \u003ca href=\"https://www.guinnessworldrecords.com/world-records/most-expensive-jeans\" target=\"_blank\" rel=\"noopener\">Guinness World Record\u003c/a> in 2023 when they sold for more than $412,750 at a Nashville auction.\u003c/p>\n\u003cp>Tracey Panek was there. “I was bidding on it,” Levi’s in-house historian and archivist told NPR. “But sadly one of my rivals got it.”\u003c/p>\n\u003cp>The winning bidder, private collector Tom Coyne, agreed to loan the jeans to Levi’s for the exhibition. Cobain wore them on many occasions during the 1990s, including on the video for “Heart-Shaped Box.” They show a lot of wear. There are heavy stains, rips and patches, including a colorful psychedelic print lining the hem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n6P0SitRwy8\u003c/p>\n\u003cp>“They’re just a signature grunge-looking pair of jeans,” Panek said.\u003c/p>\n\u003cp>The pants also tell more subtle stories.\u003c/p>\n\u003cp>Panek points to faded, upside-down lettering on the right leg — a four-letter word beginning with F — scribbled on a patch. While the artist was famously a left-handed guitarist, Panek said the scrawl suggests Cobain was actually ambidextrous. “You can tell he was writing with his right hand while he was seated,” she said.\u003c/p>\n\u003cp>Other pieces in the exhibition offer very different portraits of their famous owners.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3024x4032+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F99%2F08%2Fc3c96cb74b25b4cb5ae66fcc69b6%2Ffreddiemercury.jpeg\" alt=\"Freddie Mercury's 1980s 501 Original jeans hint at the Queen frontman's tidiness.\">\u003cfigcaption>Freddie Mercury’s 1980s 501 Original jeans hint at the Queen frontman’s tidiness. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sharp creases in a pair of slim-fitting, light blue jeans once owned by \u003ca href=\"https://www.kqed.org/arts/12032484/asteroid-named-for-freddie-mercury-is-announced-on-his-birthday\">Freddie Mercury\u003c/a> say something about the Queen vocalist’s fastidiousness. “I think he ironed these,” Panek said.\u003c/p>\n\u003cp>[aside postid='arts_13981914']Meanwhile a rhinestone-festooned, western-style denim pants and matching jacket worn by \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> in a recent Levi’s advertising campaign highlight Queen Bey’s penchant as a performer for upending traditional white, male tropes. “She challenges a pool shark to a shootout,” said Panek, describing one of the \u003ca href=\"https://www.youtube.com/watch?v=y2o2FuqMtxI\" target=\"_blank\" rel=\"noopener\">ads\u003c/a> set to Beyoncé’s 2024 song “Levii’s Jeans.” “Of course, she wins hands down, and demands that her rival give up his Levi’s.”\u003c/p>\n\u003cp>Mary Davis, a fashion historian and musicologist at Yale University, said musicians use denim in many different ways to construct identity and share messages.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1692x3006+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ffe%2F04%2Fdb8047a84ed08e974bacaf770f3d%2Fbeyonce-4.jpg\" alt=\"Beyoncé's Levi's 501 Curve Jeans & Levi's Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi's, having performed the song 'Levii's Jeans' on her album Cowboy Carter.\">\u003cfigcaption>Beyoncé’s Levi’s 501 Curve Jeans & Levi’s Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi’s, having performed the song “Levii’s Jeans” on her album \u003cem>Cowboy Carter\u003c/em>. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a way in which you can see denim being almost a blank canvas for anything that anybody wants to make it,” Davis said.\u003c/p>\n\u003cp>[aside postid='arts_13983862']Davis points to Bruce Springsteen’s 1984 album \u003cem>Born in the U.S.A.\u003c/em>, with its songs about the struggles of the working class — and its memorable album cover. It shows Springsteen from behind in worn blue Levi’s, a white T-shirt and a red baseball cap stuffed into a back pocket.\u003c/p>\n\u003cp>Davis said the photograph draws a potent line between denim’s 19th century workwear roots and the troubadour of late twentieth century labor. “He’s making a statement there,” Davis said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Amped: Music Icons in Levi’s® Denim’ is on view now (Tuesdays through Thursdays, 10 a.m. to 4 p.m.) through December 18, 2025 at the Levi’s museum located inside the company headquarters (1155 Battery St., San Francisco). Admission is free.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13983989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans.png\" alt=\"A pair of ripped and patched-up blue jeans stand on mannequin legs in the center of a display, in front of a photo of Kurt Cobain from Nirvana, performing on stage.\" width=\"2000\" height=\"1873\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-160x150.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-768x719.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/kurt-c-jeans-1536x1438.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Levi’s 501 jeans worn by Kurt Cobain, including in the video for ‘Heart-Shaped Box.’ \u003ccite>(Loaned by Tom Coyne/David Fenton for Levi’s/Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pop music is full of references to denim. From the opening lyrics of \u003ca href=\"https://www.kqed.org/arts/13858541/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\">Elton John\u003c/a>’s “Tiny Dancer” — “Blue jean baby” — to Flo Rida’s ode to an Apple Bottoms pair in “Low.”\u003c/p>\n\u003cp>But musicians don’t just sing about jeans. They also live in them. And those garments sometimes reveal intriguing details about the people who wear them, as the new \u003ca href=\"https://www.levistrauss.com/2025/11/05/levis-vault-reopens/\" target=\"_blank\" rel=\"noopener\">\u003cem>Amped: Music Icons in Levi’s Denim\u003c/em>\u003c/a> exhibition at Levi’s headquarters in San Francisco shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the exhibition’s marquee items is a pair of Levi’s 501s once owned by \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a>. The late Nirvana frontman’s jeans set a \u003ca href=\"https://www.guinnessworldrecords.com/world-records/most-expensive-jeans\" target=\"_blank\" rel=\"noopener\">Guinness World Record\u003c/a> in 2023 when they sold for more than $412,750 at a Nashville auction.\u003c/p>\n\u003cp>Tracey Panek was there. “I was bidding on it,” Levi’s in-house historian and archivist told NPR. “But sadly one of my rivals got it.”\u003c/p>\n\u003cp>The winning bidder, private collector Tom Coyne, agreed to loan the jeans to Levi’s for the exhibition. Cobain wore them on many occasions during the 1990s, including on the video for “Heart-Shaped Box.” They show a lot of wear. There are heavy stains, rips and patches, including a colorful psychedelic print lining the hem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n6P0SitRwy8'\n title='//www.youtube.com/embed/n6P0SitRwy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They’re just a signature grunge-looking pair of jeans,” Panek said.\u003c/p>\n\u003cp>The pants also tell more subtle stories.\u003c/p>\n\u003cp>Panek points to faded, upside-down lettering on the right leg — a four-letter word beginning with F — scribbled on a patch. While the artist was famously a left-handed guitarist, Panek said the scrawl suggests Cobain was actually ambidextrous. “You can tell he was writing with his right hand while he was seated,” she said.\u003c/p>\n\u003cp>Other pieces in the exhibition offer very different portraits of their famous owners.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3024x4032+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F99%2F08%2Fc3c96cb74b25b4cb5ae66fcc69b6%2Ffreddiemercury.jpeg\" alt=\"Freddie Mercury's 1980s 501 Original jeans hint at the Queen frontman's tidiness.\">\u003cfigcaption>Freddie Mercury’s 1980s 501 Original jeans hint at the Queen frontman’s tidiness. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sharp creases in a pair of slim-fitting, light blue jeans once owned by \u003ca href=\"https://www.kqed.org/arts/12032484/asteroid-named-for-freddie-mercury-is-announced-on-his-birthday\">Freddie Mercury\u003c/a> say something about the Queen vocalist’s fastidiousness. “I think he ironed these,” Panek said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile a rhinestone-festooned, western-style denim pants and matching jacket worn by \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> in a recent Levi’s advertising campaign highlight Queen Bey’s penchant as a performer for upending traditional white, male tropes. “She challenges a pool shark to a shootout,” said Panek, describing one of the \u003ca href=\"https://www.youtube.com/watch?v=y2o2FuqMtxI\" target=\"_blank\" rel=\"noopener\">ads\u003c/a> set to Beyoncé’s 2024 song “Levii’s Jeans.” “Of course, she wins hands down, and demands that her rival give up his Levi’s.”\u003c/p>\n\u003cp>Mary Davis, a fashion historian and musicologist at Yale University, said musicians use denim in many different ways to construct identity and share messages.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1692x3006+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ffe%2F04%2Fdb8047a84ed08e974bacaf770f3d%2Fbeyonce-4.jpg\" alt=\"Beyoncé's Levi's 501 Curve Jeans & Levi's Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi's, having performed the song 'Levii's Jeans' on her album Cowboy Carter.\">\u003cfigcaption>Beyoncé’s Levi’s 501 Curve Jeans & Levi’s Trucker Jacket from 2025. The artist wore this ensemble as part of an ad campaign for Levi’s, having performed the song “Levii’s Jeans” on her album \u003cem>Cowboy Carter\u003c/em>. \u003ccite> (Levi Strauss & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a way in which you can see denim being almost a blank canvas for anything that anybody wants to make it,” Davis said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Davis points to Bruce Springsteen’s 1984 album \u003cem>Born in the U.S.A.\u003c/em>, with its songs about the struggles of the working class — and its memorable album cover. It shows Springsteen from behind in worn blue Levi’s, a white T-shirt and a red baseball cap stuffed into a back pocket.\u003c/p>\n\u003cp>Davis said the photograph draws a potent line between denim’s 19th century workwear roots and the troubadour of late twentieth century labor. “He’s making a statement there,” Davis said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Amped: Music Icons in Levi’s® Denim’ is on view now (Tuesdays through Thursdays, 10 a.m. to 4 p.m.) through December 18, 2025 at the Levi’s museum located inside the company headquarters (1155 Battery St., San Francisco). Admission is free.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oakland-osa-fashion-show-cuisine-and-couture-restaurants-food",
"title": "Plantain Peels, Sugar and Style: Oakland Teens Weave Food Into Fashion",
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"headTitle": "Plantain Peels, Sugar and Style: Oakland Teens Weave Food Into Fashion | KQED",
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"content": "\u003cp>Two o’clock in the afternoon is a cursed hour at most high schools in America — a time when tired teenagers mentally check out, eager to be anywhere but a classroom. But on a recent Thursday afternoon, Stephanie Verrières’ fashion design class at the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-school-for-the-arts\">Oakland School for the Arts\u003c/a> (OSA) is a vision of happy, controlled chaos.\u003c/p>\n\u003cp>Inside a crowded art studio, clusters of teens drape dresses onto mannequins and hand-sew intricate beadwork onto bodices. Student designers talk shop over the rat-a-tat of multiple sewing machines. Sprawled on the sidewalk just outside the school, girls dye swatches of fabric by dunking them into a bucket of red wine.\u003c/p>\n\u003cp>Meanwhile, the chef at one of Oakland’s trendiest restaurants has dropped in for a visit. He checks in with a student, musing how they might run plantain peels through a tortilla press — and then \u003cem>braid \u003c/em>them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this productive energy is in service of the students’ first big project of the year, \u003ca href=\"https://www.visitoakland.com/event/cuisine-and-couture-%7C-oakland-style/34241/\">Cuisine and Couture\u003c/a>, a collaboration between OSA — a public charter school for grades 6–12 located inside the Fox Theater building in downtown Oakland — and Visit Oakland, the city’s tourism bureau. Verrières paired her 20 high school students with 11 of Oakland’s top chefs representing the city’s diverse culinary scene, from trendy, big-name restaurants like Popoca and Parche to longtime community staples like El Huarache Azteca.\u003c/p>\n\u003cp>The students’ task? To create a food-themed high-fashion outfit inspired by their chef’s restaurant.\u003c/p>\n\u003cfigure id=\"attachment_13981871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fashion design teacher Stephanie Verrières poses for a portrait in her classroom at the Oakland School for the Arts . \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 12, Cuisine and Couture will cap off the third annual \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a> with a fashion show in the Oakland Museum of California’s outdoor garden, featuring OSA student models walking the runway to show off each designer’s work. The chefs will be on hand, too, plying guests with dishes created especially for the occasion. And the tables will be adorned with miniature dresses designed by OSA middle school students, inspired by the participating restaurants.\u003c/p>\n\u003cp>The runway show will conclude weeks of close collaboration between the students and the chefs — of stories, ingredients and even baby photos shared. All told, the event is meant to be a love letter to \u003ca href=\"https://www.kqed.org/arts/13967120/oakland-best-food-city-america-chef-responses\">Oakland’s much-vaunted food scene\u003c/a> and a celebration of the Town’s talented young artists. For many of them, the project has been a way to dive deeply into someone else’s culture — and, in many cases, to make a much deeper connection to their own.\u003c/p>\n\u003ch2>A delicious idea\u003c/h2>\n\u003cp>The Cuisine and Couture project came about when Visit Oakland PR director Renee Roberts approached Verrières with the idea of OSA putting on a fashion show at a food event. As it turns out, Verrières remembered taking part in something similar when she was just starting out as a designer — a 2007 \u003ca href=\"https://www.sfgate.com/style/article/Fundraiser-turns-foodies-into-fashionistas-2537728.php\">fundraising gala\u003c/a> where the runway looks were inspired by some of San Francisco’s most famous restaurants.\u003c/p>\n\u003cp>Paired with legendary French chef Hubert Keller, Verrières and her design partner created an elaborate evening gown with black-eyed peas and red peppercorns on the bodice, as an homage to Keller’s now-closed flagship restaurant, Fleur de Lys. To represent the tequila lounge Tres Agaves (which has also since closed), they designed a cocktail dress made out of lime rinds and tequila labels.\u003c/p>\n\u003cfigure id=\"attachment_13981591\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Verrières supervises students \u003cspan style=\"font-weight: 400\">Isadora Oznowicz (left) and Sadie McMahon\u003c/span> as they use red wine to dye fabric. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me as a designer, it was such a great opportunity to get out of my own world and get into someone else’s,” Verrières recalls.\u003c/p>\n\u003cp>When Verrières pitched an Oakland-centric version of the event featuring designs by OSA students, Roberts was sold — and so were all of the chefs she spoke to. Within a day, she lined up all 11 restaurants to participate. “That moment for the designers to see their fashion parading down that runway is going to be magical,” she says. “People not from Oakland will see it and fall in love with Oakland.”\u003c/p>\n\u003cp>Now in her third year at OSA, Verrières first pursued a career in fashion in the early aughts. \u003ca href=\"https://www.verrieressako.com/aboutus\">Verrières & Sako\u003c/a>, the Oakland-based label she co-founded, has won awards and dressed celebrities for major \u003ca href=\"https://www.instagram.com/p/C3D-IFsy8Q-/?hl=en\">red carpet events\u003c/a>, including \u003ca href=\"https://www.instagram.com/luzpenatv/reel/C4ZmwpoLsGv/\">the Oscars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981590\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rolls of fabric in OSA’s cozy but well-stocked fashion design studio. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I started out, fashion was still a thing. It was hot, and there were still a lot of great opportunities,” Verrières says. Now, fabric stores across the Bay Area are closing down, and clothing manufacturers and fashion designers are all leaving the region.\u003c/p>\n\u003cp>So while she’s still active as a designer herself, Verrières leapt at the opportunity to become the chair of OSA’s fashion program, and to help nurture the Bay Area’s next generation of homegrown talent — though the majority of her students don’t wind up going into the fashion industry.\u003c/p>\n\u003cp>But at a time when \u003ca href=\"https://calmatters.org/commentary/2022/02/arts-education-is-woefully-underfunded-in-california-schools/\">budget cuts\u003c/a> have \u003ca href=\"https://edsource.org/2022/addressing-the-crisis-in-arts-and-music-education-in-california/664798\">decimated arts education\u003c/a> at many public schools in the Bay Area, it’s a rare luxury for OSA students to be able to spend two and a half hours a day, four days a week, pursuing their chosen artistic path, whether it be vocal music, audio engineering or set design.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.oakarts.org/ARTS-PATHWAYS/DESIGN-VISUAL-MEDIA-ARTS/Fashion-Design/\">fashion design track\u003c/a> is in particularly high demand. The school no longer uses an audition-based enrollment process, but Verrières’ classroom simply isn’t big enough to support more than 20 young designers. The waitlist is over 200 students long.\u003c/p>\n\u003ch2>Food as fashion and fashion as food\u003c/h2>\n\u003cp>There is, it turns out, a long history of food-inspired fashion. A 2023 retrospective on the trend, \u003ca href=\"https://www.fitnyc.edu/museum/exhibitions/food-and-fashion/index.php\">\u003cem>Food & Fashion\u003c/em>\u003c/a> at New York’s Museum at FIT, included a gloriously unhinged \u003ca href=\"https://www.instagram.com/p/CyDn8ZwurkU/\">corn cob hat\u003c/a> (a hot look in 1941, apparently) by legendary Chicago milliner Bes-Ben, a \u003ca href=\"https://fashionmuseum.fitnyc.edu/objects/83856/dress?ctx=a9d69b2303bff40e33a4de6c0749b0a4b1d0d3ea&idx=19\">Baby Ruth candy bar–themed\u003c/a> disposable paper dress from 1968, an ’80s-era \u003ca href=\"https://www.flickr.com/photos/museumatfit/52972304156/in/album-72177720309029985\">edible string bikini\u003c/a>, and a Surrealist \u003ca href=\"https://www.flickr.com/photos/museumatfit/53199573328/in/album-72177720309029985\">fried-egg dress\u003c/a> with a baguette headpiece, like something out of \u003cem>Alice in Wonderland\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=efTLpRGkrC0\">Salon du Chocolat\u003c/a>, an annual Parisian trade expo for chocolatiers, includes a runway show with edible couture outfits made almost entirely \u003ca href=\"https://www.amusingplanet.com/2012/03/edible-dresses-made-from-chocolate-at.html\">out of chocolate\u003c/a>. And many of the fashion world’s most prominent designers were notorious foodies in their day. Famously, Karl Lagerfeld once staged a big \u003ca href=\"https://www.theguardian.com/fashion/fashion-blog/2014/mar/04/supermarket-karl-lagerfeld-chanel-collection-paris\">Chanel runway show\u003c/a> inside a (fake) supermarket. Christian Dior even \u003ca href=\"https://www.vogue.com/article/dior-cookbook-recipes-plaza-athenee-paris\">wrote a whole cookbook\u003c/a>. (“I know lots of recipes, and, who knows, one day I might need something to fall back on,” \u003ca href=\"https://www.nytimes.com/2002/08/18/magazine/the-last-temptation-of-christian.html\">he once mused\u003c/a>. “We could do a Dior ham or a Dior roast beef, perhaps?”)\u003c/p>\n\u003cfigure id=\"attachment_13981868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beatrice Hunt (left) and Luxmi Chakrabarti work on a hoop dress inspired by the circular shape of traditional Ethiopian baskets and injera. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, Oakland’s Cuisine and Couture is part of a long lineage. And what Verrières’ students are learning is that the worlds of food and fashion intersect much more than they might have expected. Both deal with texture, building layers, engaging multiple senses. (“The chefs were so impressed that my students knew the term ‘ombre,’” Verrières recalls.) Both require a whole toolbox of technical skills.\u003c/p>\n\u003cp>And though some people will never see both food and fashion as anything more than purely utilitarian — generic business casual khakis, or a fast food burger that fills you up — they can also be powerful instruments of storytelling.\u003c/p>\n\u003cp>As participating chef Michele McQueen of Town Fare puts it, “Fashion is obviously an expression of art, but the feeling that goes into why you made these pair of pants or this dress — what you were trying to evoke, what were you trying to make people feel when they see it. That’s the same as what we’re trying to make people feel when they eat our food.”[aside postID=arts_13981754 hero='https://ww2.kqed.org/app/uploads/sites/2/2020/03/RyanNicoleAustin_COVER.jpg']The highlight of the project, then, has been the rich conversations between the students and chefs. “[The chefs are] showing childhood art that they did, where they like to shop, how they plate their food,” Verrières says. “[The students are] getting history lessons. Like, ‘Oh, this is a curry leaf.’ ‘This is what turmeric is.’ It’s so much more than just a lesson in fashion.”\u003c/p>\n\u003cp>The students have translated these food talks into their designs in a variety of ways. Sophomores Isadora Oznowicz and Sadie McMahon were taken with the pink napkins at Mama Oakland — and since the Italian restaurant is known for its wine selection, they decided to dip pieces of fabric into red wine. They came out just the right shade of pink.\u003c/p>\n\u003cp>Senior Annabella Ventresco and junior Mila Rukavina, meanwhile, visited pastry chefs Monique and Paul Feybesse at their new Oakland bakery, Tarts de Feybesse, for an impromptu lesson in how to pipe pastry cream — a technique they’ll use to incorporate pipeable whipped clay in their design. Their garment is a scalloped, tiered skirt topped with sugar on the edges — “very Marie Antoinette,” Verrières says.\u003c/p>\n\u003cp>“There are currently 17 layers in the skirt alone, and so that’s kind of in reference to the way they make the pastries,” Ventresco explains.\u003c/p>\n\u003cfigure id=\"attachment_13981584\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Ventresco (left) and Mila Rukavina sew details onto the pastry shop–inspired dress they are collaborating on. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yes, there will — hopefully — be braided plantain peels, inspired by the Colombian restaurant Parche, though ninth grader Luxmi Chakrabarti notes that the plantains are still undergoing some research and development. The idea, however, will be to turn the peels into little decorative elements that she’ll attach to the top of the dress.\u003c/p>\n\u003cp>For some of Verrières’ students, the collaborations mean diving headfirst into cultures completely different from their own. Before she paired up with Mela Bistro chef Adiam Tsegaye, 9th grader Beatrice Hunt had never eaten \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">Ethiopian food\u003c/a>.\u003c/p>\n\u003cp>Now, after multiple visits to the restaurant, she loves the cuisine and the way the tangy injera complements the colorful stews. Her design is a hoop skirt inspired by the fact that Ethiopian food is served in a circle — circular baskets, as well as the rounds of injera. The outside of the skirt is made entirely out of circular placemats, which she’s hand-dyed with beet juice and turmeric.\u003c/p>\n\u003cp>But perhaps the most rewarding part of the project is the way it has given many of the students an opportunity to connect with their \u003cem>own\u003c/em> identity and heritage in a meaningful way.\u003c/p>\n\u003cfigure id=\"attachment_13981583\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and chef of Town Fare Cafe, Michele McQueen (left) records a video with OSA senior Olu Thomas. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olu Thomas, a senior, says he immediately gravitated toward Town Fare and its chef, Michele McQueen, who, like Thomas, is Black. He’s now translating her restaurant’s story into a sharp-looking suit made out of gray canvas that echoes Town Fare’s Brutalist concrete interior, plus a scarf inspired by its collard greens salad. Rachel Kiechel, also a senior, grew up around Dominican cuisine thanks to her aunt, so she was excited to work with Nelson German at alaMar — to chart, through her design, the chef’s journey from the Dominican Republic to New York to the Bay.\u003c/p>\n\u003cp>Kylie Didrickson, a ninth grader and fourth-year OSA fashion design student, partnered with Crystal Wahpepah after learning that the chef’s Fruitvale business, \u003ca href=\"https://www.kqed.org/arts/13903531/wahpepahs-kitchen-fruitvale-indigenous-restaurant\">Wahpepah’s Kitchen\u003c/a>, was the first Indigenous restaurant to open in Oakland. Didrickson is part Indigenous herself — her father, who is Alaskan Native, went to the same after-school program at Oakland’s Intertribal Friendship House that Wahpepah attended while growing up.\u003c/p>\n\u003cp>When Didrickson saw the all-Native menu at Wahpepah’s Kitchen, she says, “It felt so bold, and almost like it was meant for me in a way.”\u003c/p>\n\u003cp>During their first meeting, the chef told Didrickson stories about the time she’d traveled to Alaska to eat whale meat with the Native people there. She suggested ingredients that Didrickson might incorporate into the garment: berries, dried beans and mini violas, a purple edible flower that Wahpepah sources from a Native-owned farm in Oregon. A member of the Kickapoo Tribe of Oklahoma, Wahpepah says she mostly encouraged Didrickson to emphasize her cuisine’s vibrant colors.\u003c/p>\n\u003cfigure id=\"attachment_13981869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ninth grade student Kylie Didrickson’s design is inspired by chef Crystal Wahpepah’s Native heritage — as well as her own. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, when Didrickson looked around the restaurant, she kept seeing things that reminded her of the Native women in her family. The mural of a Kickapoo woman wearing a traditional, bright purple dress became the inspiration for the top Didrickson is designing. But it also made her think about the photo of her grandmother she keeps on her refrigerator. “I never got to meet her, but I always thought she was so pretty,” she says. Why not incorporate the long red dress and orange ribbons that Didrickson’s grandma wears in the photo into her design as well?\u003c/p>\n\u003cp>Didrickson has been passionate about fashion and makeup for as long as she can remember, but because she didn’t know of any Native designers, she never really thought about expressing that part of her identity in her art.\u003c/p>\n\u003cp>Now, she says, “I feel like whatever I do in life, I want to incorporate some of myself in it. I want to add a part of myself into every piece I make.”\u003c/p>\n\u003ch2>A two-way collaboration\u003c/h2>\n\u003cp>As much as the students have found inspiration from the chefs, the effect has been reciprocal. Paul Iglesias and Sophia Akbar, the husband-and-wife team behind Parche and Jaji, have even found themselves tweaking their menu for the Cuisine and Couture gala in response to their students’ evolving designs.\u003c/p>\n\u003cp>Iglesias, for instance, saw that his student collaborator, Chakrabarti, was inspired to incorporate the look of a sorbet she’d eaten at Parche into the design of her colorful blue and red dress. Now he’s thinking about perhaps adding a savory sorbet element to the dish he’ll be serving. Akbar, whose contemporary Afghan restaurant Jaji opened earlier this year, decided to adjust her dish after seeing how much dried fruit her student had incorporated into her piece.\u003c/p>\n\u003cfigure id=\"attachment_13981587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Parche chef Paul Iglesias (left) checks out ninth grader Luxmi Chakrabarti’s mood board. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s art at its purest,” Iglesias says of the way designers and chefs, students and mentors, are coming together to create something magical that will exist only for that moment — one bite, one stroll down the runway.\u003c/p>\n\u003cp>Or, as Akbar puts it, “It’s a lot more of an interesting pairing than talking to your typical winemaker.”\u003c/p>\n\u003cp>And of course, as an event put on by the tourism bureau, Cuisine and Couture is meant to be a platform to show Oakland in the best possible light, at a time when news headlines about the city are often bleak. alaMar’s German says he has been so impressed by the wealth of creative, talented artists at OSA. For him, the food and fashion event will be proof that “Oakland is not hopeless.”\u003c/p>\n\u003cp>“There’s so much still here that’s positive and beautiful,” he says. “And now it’s our time to really shine.”\u003c/p>\n\u003cfigure id=\"attachment_13981586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">aLamar chef Nelson German (left) and 12th grade OSA student Ruby Kiechel discuss Kiechel’s design.. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the project’s richly textured, multidimensional aspect that makes the project feel especially Oakland to Verrières — the way that so many different neighborhoods and food genres are represented, and how her students have peeled back so many layers of culture and history and cuisine. “You couldn’t do this in San Francisco,” she says, laughing.\u003c/p>\n\u003cp>In just a couple of weeks, Verrières hopes everyone in Oakland who loves food, culture and creativity will come out to see what her students have made with their own two hands. The gasps of delight when a model walks out wearing a dress made of corn husks, or sugar, or spray-painted pasta. The poignant moment when each pair of chefs and student designers walks down the makeshift runway together, side by side. The way, perhaps, the whole Town will rise to its feet to give them their flowers.\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/oakland-style/cuisine-couture/\">\u003cem>Cuisine and Couture\u003c/em>\u003c/a>\u003cem> will take place on Sunday, Oct. 12, from 11:30 a.m.–1:30 p.m., at the Oakland Museum of California (1000 Oak St., Oakland). \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/cuisine-and-couture-tickets-1530841571349\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> ($25–$75) are available online until sold out.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two o’clock in the afternoon is a cursed hour at most high schools in America — a time when tired teenagers mentally check out, eager to be anywhere but a classroom. But on a recent Thursday afternoon, Stephanie Verrières’ fashion design class at the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-school-for-the-arts\">Oakland School for the Arts\u003c/a> (OSA) is a vision of happy, controlled chaos.\u003c/p>\n\u003cp>Inside a crowded art studio, clusters of teens drape dresses onto mannequins and hand-sew intricate beadwork onto bodices. Student designers talk shop over the rat-a-tat of multiple sewing machines. Sprawled on the sidewalk just outside the school, girls dye swatches of fabric by dunking them into a bucket of red wine.\u003c/p>\n\u003cp>Meanwhile, the chef at one of Oakland’s trendiest restaurants has dropped in for a visit. He checks in with a student, musing how they might run plantain peels through a tortilla press — and then \u003cem>braid \u003c/em>them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All this productive energy is in service of the students’ first big project of the year, \u003ca href=\"https://www.visitoakland.com/event/cuisine-and-couture-%7C-oakland-style/34241/\">Cuisine and Couture\u003c/a>, a collaboration between OSA — a public charter school for grades 6–12 located inside the Fox Theater building in downtown Oakland — and Visit Oakland, the city’s tourism bureau. Verrières paired her 20 high school students with 11 of Oakland’s top chefs representing the city’s diverse culinary scene, from trendy, big-name restaurants like Popoca and Parche to longtime community staples like El Huarache Azteca.\u003c/p>\n\u003cp>The students’ task? To create a food-themed high-fashion outfit inspired by their chef’s restaurant.\u003c/p>\n\u003cfigure id=\"attachment_13981871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fashion design teacher Stephanie Verrières poses for a portrait in her classroom at the Oakland School for the Arts . \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 12, Cuisine and Couture will cap off the third annual \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a> with a fashion show in the Oakland Museum of California’s outdoor garden, featuring OSA student models walking the runway to show off each designer’s work. The chefs will be on hand, too, plying guests with dishes created especially for the occasion. And the tables will be adorned with miniature dresses designed by OSA middle school students, inspired by the participating restaurants.\u003c/p>\n\u003cp>The runway show will conclude weeks of close collaboration between the students and the chefs — of stories, ingredients and even baby photos shared. All told, the event is meant to be a love letter to \u003ca href=\"https://www.kqed.org/arts/13967120/oakland-best-food-city-america-chef-responses\">Oakland’s much-vaunted food scene\u003c/a> and a celebration of the Town’s talented young artists. For many of them, the project has been a way to dive deeply into someone else’s culture — and, in many cases, to make a much deeper connection to their own.\u003c/p>\n\u003ch2>A delicious idea\u003c/h2>\n\u003cp>The Cuisine and Couture project came about when Visit Oakland PR director Renee Roberts approached Verrières with the idea of OSA putting on a fashion show at a food event. As it turns out, Verrières remembered taking part in something similar when she was just starting out as a designer — a 2007 \u003ca href=\"https://www.sfgate.com/style/article/Fundraiser-turns-foodies-into-fashionistas-2537728.php\">fundraising gala\u003c/a> where the runway looks were inspired by some of San Francisco’s most famous restaurants.\u003c/p>\n\u003cp>Paired with legendary French chef Hubert Keller, Verrières and her design partner created an elaborate evening gown with black-eyed peas and red peppercorns on the bodice, as an homage to Keller’s now-closed flagship restaurant, Fleur de Lys. To represent the tequila lounge Tres Agaves (which has also since closed), they designed a cocktail dress made out of lime rinds and tequila labels.\u003c/p>\n\u003cfigure id=\"attachment_13981591\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Verrières supervises students \u003cspan style=\"font-weight: 400\">Isadora Oznowicz (left) and Sadie McMahon\u003c/span> as they use red wine to dye fabric. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me as a designer, it was such a great opportunity to get out of my own world and get into someone else’s,” Verrières recalls.\u003c/p>\n\u003cp>When Verrières pitched an Oakland-centric version of the event featuring designs by OSA students, Roberts was sold — and so were all of the chefs she spoke to. Within a day, she lined up all 11 restaurants to participate. “That moment for the designers to see their fashion parading down that runway is going to be magical,” she says. “People not from Oakland will see it and fall in love with Oakland.”\u003c/p>\n\u003cp>Now in her third year at OSA, Verrières first pursued a career in fashion in the early aughts. \u003ca href=\"https://www.verrieressako.com/aboutus\">Verrières & Sako\u003c/a>, the Oakland-based label she co-founded, has won awards and dressed celebrities for major \u003ca href=\"https://www.instagram.com/p/C3D-IFsy8Q-/?hl=en\">red carpet events\u003c/a>, including \u003ca href=\"https://www.instagram.com/luzpenatv/reel/C4ZmwpoLsGv/\">the Oscars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981590\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rolls of fabric in OSA’s cozy but well-stocked fashion design studio. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I started out, fashion was still a thing. It was hot, and there were still a lot of great opportunities,” Verrières says. Now, fabric stores across the Bay Area are closing down, and clothing manufacturers and fashion designers are all leaving the region.\u003c/p>\n\u003cp>So while she’s still active as a designer herself, Verrières leapt at the opportunity to become the chair of OSA’s fashion program, and to help nurture the Bay Area’s next generation of homegrown talent — though the majority of her students don’t wind up going into the fashion industry.\u003c/p>\n\u003cp>But at a time when \u003ca href=\"https://calmatters.org/commentary/2022/02/arts-education-is-woefully-underfunded-in-california-schools/\">budget cuts\u003c/a> have \u003ca href=\"https://edsource.org/2022/addressing-the-crisis-in-arts-and-music-education-in-california/664798\">decimated arts education\u003c/a> at many public schools in the Bay Area, it’s a rare luxury for OSA students to be able to spend two and a half hours a day, four days a week, pursuing their chosen artistic path, whether it be vocal music, audio engineering or set design.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.oakarts.org/ARTS-PATHWAYS/DESIGN-VISUAL-MEDIA-ARTS/Fashion-Design/\">fashion design track\u003c/a> is in particularly high demand. The school no longer uses an audition-based enrollment process, but Verrières’ classroom simply isn’t big enough to support more than 20 young designers. The waitlist is over 200 students long.\u003c/p>\n\u003ch2>Food as fashion and fashion as food\u003c/h2>\n\u003cp>There is, it turns out, a long history of food-inspired fashion. A 2023 retrospective on the trend, \u003ca href=\"https://www.fitnyc.edu/museum/exhibitions/food-and-fashion/index.php\">\u003cem>Food & Fashion\u003c/em>\u003c/a> at New York’s Museum at FIT, included a gloriously unhinged \u003ca href=\"https://www.instagram.com/p/CyDn8ZwurkU/\">corn cob hat\u003c/a> (a hot look in 1941, apparently) by legendary Chicago milliner Bes-Ben, a \u003ca href=\"https://fashionmuseum.fitnyc.edu/objects/83856/dress?ctx=a9d69b2303bff40e33a4de6c0749b0a4b1d0d3ea&idx=19\">Baby Ruth candy bar–themed\u003c/a> disposable paper dress from 1968, an ’80s-era \u003ca href=\"https://www.flickr.com/photos/museumatfit/52972304156/in/album-72177720309029985\">edible string bikini\u003c/a>, and a Surrealist \u003ca href=\"https://www.flickr.com/photos/museumatfit/53199573328/in/album-72177720309029985\">fried-egg dress\u003c/a> with a baguette headpiece, like something out of \u003cem>Alice in Wonderland\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=efTLpRGkrC0\">Salon du Chocolat\u003c/a>, an annual Parisian trade expo for chocolatiers, includes a runway show with edible couture outfits made almost entirely \u003ca href=\"https://www.amusingplanet.com/2012/03/edible-dresses-made-from-chocolate-at.html\">out of chocolate\u003c/a>. And many of the fashion world’s most prominent designers were notorious foodies in their day. Famously, Karl Lagerfeld once staged a big \u003ca href=\"https://www.theguardian.com/fashion/fashion-blog/2014/mar/04/supermarket-karl-lagerfeld-chanel-collection-paris\">Chanel runway show\u003c/a> inside a (fake) supermarket. Christian Dior even \u003ca href=\"https://www.vogue.com/article/dior-cookbook-recipes-plaza-athenee-paris\">wrote a whole cookbook\u003c/a>. (“I know lots of recipes, and, who knows, one day I might need something to fall back on,” \u003ca href=\"https://www.nytimes.com/2002/08/18/magazine/the-last-temptation-of-christian.html\">he once mused\u003c/a>. “We could do a Dior ham or a Dior roast beef, perhaps?”)\u003c/p>\n\u003cfigure id=\"attachment_13981868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beatrice Hunt (left) and Luxmi Chakrabarti work on a hoop dress inspired by the circular shape of traditional Ethiopian baskets and injera. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, Oakland’s Cuisine and Couture is part of a long lineage. And what Verrières’ students are learning is that the worlds of food and fashion intersect much more than they might have expected. Both deal with texture, building layers, engaging multiple senses. (“The chefs were so impressed that my students knew the term ‘ombre,’” Verrières recalls.) Both require a whole toolbox of technical skills.\u003c/p>\n\u003cp>And though some people will never see both food and fashion as anything more than purely utilitarian — generic business casual khakis, or a fast food burger that fills you up — they can also be powerful instruments of storytelling.\u003c/p>\n\u003cp>As participating chef Michele McQueen of Town Fare puts it, “Fashion is obviously an expression of art, but the feeling that goes into why you made these pair of pants or this dress — what you were trying to evoke, what were you trying to make people feel when they see it. That’s the same as what we’re trying to make people feel when they eat our food.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The highlight of the project, then, has been the rich conversations between the students and chefs. “[The chefs are] showing childhood art that they did, where they like to shop, how they plate their food,” Verrières says. “[The students are] getting history lessons. Like, ‘Oh, this is a curry leaf.’ ‘This is what turmeric is.’ It’s so much more than just a lesson in fashion.”\u003c/p>\n\u003cp>The students have translated these food talks into their designs in a variety of ways. Sophomores Isadora Oznowicz and Sadie McMahon were taken with the pink napkins at Mama Oakland — and since the Italian restaurant is known for its wine selection, they decided to dip pieces of fabric into red wine. They came out just the right shade of pink.\u003c/p>\n\u003cp>Senior Annabella Ventresco and junior Mila Rukavina, meanwhile, visited pastry chefs Monique and Paul Feybesse at their new Oakland bakery, Tarts de Feybesse, for an impromptu lesson in how to pipe pastry cream — a technique they’ll use to incorporate pipeable whipped clay in their design. Their garment is a scalloped, tiered skirt topped with sugar on the edges — “very Marie Antoinette,” Verrières says.\u003c/p>\n\u003cp>“There are currently 17 layers in the skirt alone, and so that’s kind of in reference to the way they make the pastries,” Ventresco explains.\u003c/p>\n\u003cfigure id=\"attachment_13981584\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Ventresco (left) and Mila Rukavina sew details onto the pastry shop–inspired dress they are collaborating on. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yes, there will — hopefully — be braided plantain peels, inspired by the Colombian restaurant Parche, though ninth grader Luxmi Chakrabarti notes that the plantains are still undergoing some research and development. The idea, however, will be to turn the peels into little decorative elements that she’ll attach to the top of the dress.\u003c/p>\n\u003cp>For some of Verrières’ students, the collaborations mean diving headfirst into cultures completely different from their own. Before she paired up with Mela Bistro chef Adiam Tsegaye, 9th grader Beatrice Hunt had never eaten \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">Ethiopian food\u003c/a>.\u003c/p>\n\u003cp>Now, after multiple visits to the restaurant, she loves the cuisine and the way the tangy injera complements the colorful stews. Her design is a hoop skirt inspired by the fact that Ethiopian food is served in a circle — circular baskets, as well as the rounds of injera. The outside of the skirt is made entirely out of circular placemats, which she’s hand-dyed with beet juice and turmeric.\u003c/p>\n\u003cp>But perhaps the most rewarding part of the project is the way it has given many of the students an opportunity to connect with their \u003cem>own\u003c/em> identity and heritage in a meaningful way.\u003c/p>\n\u003cfigure id=\"attachment_13981583\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and chef of Town Fare Cafe, Michele McQueen (left) records a video with OSA senior Olu Thomas. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olu Thomas, a senior, says he immediately gravitated toward Town Fare and its chef, Michele McQueen, who, like Thomas, is Black. He’s now translating her restaurant’s story into a sharp-looking suit made out of gray canvas that echoes Town Fare’s Brutalist concrete interior, plus a scarf inspired by its collard greens salad. Rachel Kiechel, also a senior, grew up around Dominican cuisine thanks to her aunt, so she was excited to work with Nelson German at alaMar — to chart, through her design, the chef’s journey from the Dominican Republic to New York to the Bay.\u003c/p>\n\u003cp>Kylie Didrickson, a ninth grader and fourth-year OSA fashion design student, partnered with Crystal Wahpepah after learning that the chef’s Fruitvale business, \u003ca href=\"https://www.kqed.org/arts/13903531/wahpepahs-kitchen-fruitvale-indigenous-restaurant\">Wahpepah’s Kitchen\u003c/a>, was the first Indigenous restaurant to open in Oakland. Didrickson is part Indigenous herself — her father, who is Alaskan Native, went to the same after-school program at Oakland’s Intertribal Friendship House that Wahpepah attended while growing up.\u003c/p>\n\u003cp>When Didrickson saw the all-Native menu at Wahpepah’s Kitchen, she says, “It felt so bold, and almost like it was meant for me in a way.”\u003c/p>\n\u003cp>During their first meeting, the chef told Didrickson stories about the time she’d traveled to Alaska to eat whale meat with the Native people there. She suggested ingredients that Didrickson might incorporate into the garment: berries, dried beans and mini violas, a purple edible flower that Wahpepah sources from a Native-owned farm in Oregon. A member of the Kickapoo Tribe of Oklahoma, Wahpepah says she mostly encouraged Didrickson to emphasize her cuisine’s vibrant colors.\u003c/p>\n\u003cfigure id=\"attachment_13981869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ninth grade student Kylie Didrickson’s design is inspired by chef Crystal Wahpepah’s Native heritage — as well as her own. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, when Didrickson looked around the restaurant, she kept seeing things that reminded her of the Native women in her family. The mural of a Kickapoo woman wearing a traditional, bright purple dress became the inspiration for the top Didrickson is designing. But it also made her think about the photo of her grandmother she keeps on her refrigerator. “I never got to meet her, but I always thought she was so pretty,” she says. Why not incorporate the long red dress and orange ribbons that Didrickson’s grandma wears in the photo into her design as well?\u003c/p>\n\u003cp>Didrickson has been passionate about fashion and makeup for as long as she can remember, but because she didn’t know of any Native designers, she never really thought about expressing that part of her identity in her art.\u003c/p>\n\u003cp>Now, she says, “I feel like whatever I do in life, I want to incorporate some of myself in it. I want to add a part of myself into every piece I make.”\u003c/p>\n\u003ch2>A two-way collaboration\u003c/h2>\n\u003cp>As much as the students have found inspiration from the chefs, the effect has been reciprocal. Paul Iglesias and Sophia Akbar, the husband-and-wife team behind Parche and Jaji, have even found themselves tweaking their menu for the Cuisine and Couture gala in response to their students’ evolving designs.\u003c/p>\n\u003cp>Iglesias, for instance, saw that his student collaborator, Chakrabarti, was inspired to incorporate the look of a sorbet she’d eaten at Parche into the design of her colorful blue and red dress. Now he’s thinking about perhaps adding a savory sorbet element to the dish he’ll be serving. Akbar, whose contemporary Afghan restaurant Jaji opened earlier this year, decided to adjust her dish after seeing how much dried fruit her student had incorporated into her piece.\u003c/p>\n\u003cfigure id=\"attachment_13981587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Parche chef Paul Iglesias (left) checks out ninth grader Luxmi Chakrabarti’s mood board. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s art at its purest,” Iglesias says of the way designers and chefs, students and mentors, are coming together to create something magical that will exist only for that moment — one bite, one stroll down the runway.\u003c/p>\n\u003cp>Or, as Akbar puts it, “It’s a lot more of an interesting pairing than talking to your typical winemaker.”\u003c/p>\n\u003cp>And of course, as an event put on by the tourism bureau, Cuisine and Couture is meant to be a platform to show Oakland in the best possible light, at a time when news headlines about the city are often bleak. alaMar’s German says he has been so impressed by the wealth of creative, talented artists at OSA. For him, the food and fashion event will be proof that “Oakland is not hopeless.”\u003c/p>\n\u003cp>“There’s so much still here that’s positive and beautiful,” he says. “And now it’s our time to really shine.”\u003c/p>\n\u003cfigure id=\"attachment_13981586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">aLamar chef Nelson German (left) and 12th grade OSA student Ruby Kiechel discuss Kiechel’s design.. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the project’s richly textured, multidimensional aspect that makes the project feel especially Oakland to Verrières — the way that so many different neighborhoods and food genres are represented, and how her students have peeled back so many layers of culture and history and cuisine. “You couldn’t do this in San Francisco,” she says, laughing.\u003c/p>\n\u003cp>In just a couple of weeks, Verrières hopes everyone in Oakland who loves food, culture and creativity will come out to see what her students have made with their own two hands. The gasps of delight when a model walks out wearing a dress made of corn husks, or sugar, or spray-painted pasta. The poignant moment when each pair of chefs and student designers walks down the makeshift runway together, side by side. The way, perhaps, the whole Town will rise to its feet to give them their flowers.\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/oakland-style/cuisine-couture/\">\u003cem>Cuisine and Couture\u003c/em>\u003c/a>\u003cem> will take place on Sunday, Oct. 12, from 11:30 a.m.–1:30 p.m., at the Oakland Museum of California (1000 Oak St., Oakland). \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/cuisine-and-couture-tickets-1530841571349\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> ($25–$75) are available online until sold out.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "bay-area-san-francisco-oakland-fall-fashion-runway-shows",
"title": "These Bay Area Fall Fashion Shows Go Big on Culture and Community",
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"headTitle": "These Bay Area Fall Fashion Shows Go Big on Culture and Community | KQED",
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"content": "\u003cfigure id=\"attachment_13980502\" class=\"wp-caption aligncenter\" style=\"max-width: 1179px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1.jpg\" alt=\"A model walks down a runway in a silver ensemble.\" width=\"1179\" height=\"1971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1.jpg 1179w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1-768x1284.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1-919x1536.jpg 919w\" sizes=\"auto, (max-width: 1179px) 100vw, 1179px\">\u003cfigcaption class=\"wp-caption-text\">Marin Fashion Night at Headlands Center for the Arts features looks by Bay Area designers. Above, Rebecca Bruce wears her own design. \u003ccite>(Courtesy of Marin Fashion Night)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paris may have its runaways in July, but in the Bay Area, fall brings its own kind of fashion week — one stitched with community, culture and a little more heart.\u003c/p>\n\u003cp>While jetting off to France might not be in the budget, local fashion lovers can still get their fix closer to home. This season, the spotlight turns to neighborhood catwalks, historic textiles and unexpected stages, proving that style doesn’t need a big label to make a big impression.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/decades-of-i-do-a-vintage-bridal-fashion-show-tickets-1497571198769?aff=ebdiglgoogleliveevents&source=ecat\">Decades of ‘I Do’: A Vintage Bridal Fashion Show\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 24, \u003c/i>\u003ci>11 a.m.–1 p.m.\u003c/i>\u003cbr>\n\u003ci>Petaluma Historical Library & Museum, Petaluma\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>In the age of Pinterest-perfect weddings, brides-to-be often spend months curating every detail, from flower arrangements to color palettes. While many look ahead, sometimes the best inspiration comes from the past. With styles like the 18th-century basque waist back in fashion, vintage bridal looks are making a return. A runaway style exhibition, \u003cem>Decades of ‘I Do,’\u003c/em> offers a look at the evolution of wedding styles and trends over the years.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-fashion-week-transformation-2025-tickets-1510481794709?aff=ebdsoporgprofile\">San Francisco Fashion Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20–28\u003c/i>\u003cbr>\n\u003ci>Location TBA\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in its 16th year,\u003ca href=\"https://www.sffw.co/\"> San Francisco Fashion Week returns\u003c/a> with the theme of \u003cem>Transformation\u003c/em>, highlighting fashion’s evolving ties to inclusivity, sustainability and community. The week features runway shows from emerging talents and established designers, alongside innovative exhibits exploring fashion’s intersection with technology and eco-conscious design.\u003c/p>\n\u003cp>Beyond the runway, attendees can join panels with industry experts and connect with local designers, entrepreneurs and media. It’s a distinctly San Francisco moment, rooted in creativity and culture, no passport required. Swap the French baguette for some city sourdough at a fashion week that’s forward-thinking and uniquely local. [aside postid='arts_13980403']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/ukrainian-fashion-show-fremont-bay-area-ca-tickets-1323808219019?aff=ebdssbdestsearch\">Ukrainian Fashion Show\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20, \u003c/i>\u003ci>5 p.m.\u003c/i>\u003cbr>\n\u003ci>Downtown Event Center, Fremont\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/p/Ukrainian-Heritage-Club-of-Northern-California-100064175017325/\"> Ukrainian Heritage Club of Northern California \u003c/a>presents a black-tie evening of fashion, culture and solidarity. This fashion show is more than a runway event; it doubles as a fundraiser, with all proceeds going directly to humanitarian aid efforts in Ukraine. Blending modern design with centuries of tradition, the showcase celebrates the resilience and artistry of Ukrainian culture.\u003c/p>\n\u003cp>Featured designer \u003ca href=\"https://roksolanabogutska.com/en/\">Roksolana Bogutska\u003c/a> brings her signature fusion of contemporary style and national heritage to the spotlight, alongside curated garments from collector \u003ca href=\"https://www.instagram.com/mariyamulyava_studio/?hl=en\">Mariya Mulyava\u003c/a>, known for her rare and authentic traditional pieces. Guests can expect symbolic embroidery, timeless silhouettes and a warm cultural atmosphere, complete with wine, appetizers and meaningful conversations.\u003c/p>\n\u003cfigure id=\"attachment_13980195\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-scaled.jpg\" alt=\"A woman poses on the runway in a sparkly short dress. A man wears a pinstripe suit and hat. \" width=\"2560\" height=\"1910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-2000x1493.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-1536x1146.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-2048x1528.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the 2024 Walking In Life fashion show. \u003ccite>(Auintard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thehealinginstitute.org/\">Walking in Life Fashion Event and Luncheon\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 28, \u003c/i>\u003ci>1-5 p.m. \u003c/i>\u003cbr>\n\u003ci>San Ramon Marriott, San Ramon\u003c/i>\u003c/p>\n\u003cp>For its sixth year in a row, \u003ca href=\"https://thehealinginstitute.org/\">The Healing Institute Global Network\u003c/a> presents “Walking in Life,” an annual fashion show and fundraiser that shines a spotlight on strength, style and survivorship. Held in support of the organization’s mission to provide emotional support services to patients, the event features cancer survivors walking down the runway in styles by Macy’s. Each step down the catwalk is a celebration, demonstrating what means not only to survive, but to heal.\u003c/p>\n\u003cfigure id=\"attachment_13980503\" class=\"wp-caption aligncenter\" style=\"max-width: 1179px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502.jpeg\" alt=\"\" width=\"1179\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502.jpeg 1179w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502-160x183.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502-768x880.jpeg 768w\" sizes=\"auto, (max-width: 1179px) 100vw, 1179px\">\u003cfigcaption class=\"wp-caption-text\">One of the many runway looks at Marin Fashion Night 2024. \u003ccite>(Courtesy of Marin Fashion Night)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/sonas-charleston-pierce-present-marin-fashion-night-oct-4th-2025-tickets-1330560114119\">Marin Fashion Night\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 4, \u003c/i>\u003ci>5-11 p.m. \u003c/i>\u003cbr>\n\u003ci>Headlands Center for the Arts, Sausalito\u003c/i>\u003c/p>\n\u003cp>Hosted by\u003ca href=\"https://www.sonasdenim.com/?fbclid=PAZXh0bgNhZW0CMTEAAafeZl0OcBwRwrw2BQ0Xi_0DvQZaVVtCqbxV4eYSWvG4y4phxp_IWFRusKLOxA_aem_GitusvkjFJWntAtQFx7_dA\"> Sonas\u003c/a>, a boutique known for its eclectic, curated pieces, and longtime Bay Area fashion producer \u003ca href=\"https://sanfranciscomodelingcoach.com/\">Charleston Pierce\u003c/a>, Marin Fashion Night brings together six local designers for an evening rooted in community and creative expression.\u003c/p>\n\u003cp>The night unfolds with drinks and conversation, followed by a runway show choreographed by Pierce. A fire dancing performance and a DJ set close out the evening. This event is part fashion showcase, part neighborhood gathering. [aside postid='arts_13980111']\u003c/p>\n\u003ch2>\u003cstrong>\u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week \u003c/a>\u003c/strong>\u003c/h2>\n\u003cp>\u003ci>Oct. 8–12\u003c/i>\u003cbr>\n\u003ci>Various locations, Oakland\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For five days, Oakland Style Week will turn the Town into a runway. The lineup stretches from the Claremont Club’s \u003c/span>\u003ca href=\"https://www.visitoakland.com/oakland-style/high-tea-high-fashion/\">\u003cspan style=\"font-weight: 400\">High Tea & Style\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> event with informal modeling, to \u003c/span>\u003ca href=\"https://www.visitoakland.com/oakland-style/cuisine-couture/\">\u003cspan style=\"font-weight: 400\">Cuisine and Couture \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">at the Oakland Museum of California, where Oakland School for the Arts students debut designs inspired by the city’s vibrant culinary scene. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The week also features immersive maker labs with Creative Growth, interactive workshops, art competitions, walking art tours, and \u003c/span>\u003ca href=\"https://www.visitoakland.com/event/black-cultural-zone-presents%3a-a-living-runway-%7c-oakland-style-2025/34271/\">\u003cspan style=\"font-weight: 400\">A Living Runway\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, presented by Black Cultural Zone. This is where fashion meets food, art dances with music and the city’s creativity takes center stage.\u003c/span>\u003c/p>\n\n",
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"title": "6 Must-See Bay Area Fashion Shows for Fall 2025 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13980502\" class=\"wp-caption aligncenter\" style=\"max-width: 1179px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1.jpg\" alt=\"A model walks down a runway in a silver ensemble.\" width=\"1179\" height=\"1971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1.jpg 1179w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1-768x1284.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6504-1-919x1536.jpg 919w\" sizes=\"auto, (max-width: 1179px) 100vw, 1179px\">\u003cfigcaption class=\"wp-caption-text\">Marin Fashion Night at Headlands Center for the Arts features looks by Bay Area designers. Above, Rebecca Bruce wears her own design. \u003ccite>(Courtesy of Marin Fashion Night)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paris may have its runaways in July, but in the Bay Area, fall brings its own kind of fashion week — one stitched with community, culture and a little more heart.\u003c/p>\n\u003cp>While jetting off to France might not be in the budget, local fashion lovers can still get their fix closer to home. This season, the spotlight turns to neighborhood catwalks, historic textiles and unexpected stages, proving that style doesn’t need a big label to make a big impression.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/decades-of-i-do-a-vintage-bridal-fashion-show-tickets-1497571198769?aff=ebdiglgoogleliveevents&source=ecat\">Decades of ‘I Do’: A Vintage Bridal Fashion Show\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 24, \u003c/i>\u003ci>11 a.m.–1 p.m.\u003c/i>\u003cbr>\n\u003ci>Petaluma Historical Library & Museum, Petaluma\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>In the age of Pinterest-perfect weddings, brides-to-be often spend months curating every detail, from flower arrangements to color palettes. While many look ahead, sometimes the best inspiration comes from the past. With styles like the 18th-century basque waist back in fashion, vintage bridal looks are making a return. A runaway style exhibition, \u003cem>Decades of ‘I Do,’\u003c/em> offers a look at the evolution of wedding styles and trends over the years.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-fashion-week-transformation-2025-tickets-1510481794709?aff=ebdsoporgprofile\">San Francisco Fashion Week\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20–28\u003c/i>\u003cbr>\n\u003ci>Location TBA\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in its 16th year,\u003ca href=\"https://www.sffw.co/\"> San Francisco Fashion Week returns\u003c/a> with the theme of \u003cem>Transformation\u003c/em>, highlighting fashion’s evolving ties to inclusivity, sustainability and community. The week features runway shows from emerging talents and established designers, alongside innovative exhibits exploring fashion’s intersection with technology and eco-conscious design.\u003c/p>\n\u003cp>Beyond the runway, attendees can join panels with industry experts and connect with local designers, entrepreneurs and media. It’s a distinctly San Francisco moment, rooted in creativity and culture, no passport required. Swap the French baguette for some city sourdough at a fashion week that’s forward-thinking and uniquely local. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/ukrainian-fashion-show-fremont-bay-area-ca-tickets-1323808219019?aff=ebdssbdestsearch\">Ukrainian Fashion Show\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 20, \u003c/i>\u003ci>5 p.m.\u003c/i>\u003cbr>\n\u003ci>Downtown Event Center, Fremont\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/p/Ukrainian-Heritage-Club-of-Northern-California-100064175017325/\"> Ukrainian Heritage Club of Northern California \u003c/a>presents a black-tie evening of fashion, culture and solidarity. This fashion show is more than a runway event; it doubles as a fundraiser, with all proceeds going directly to humanitarian aid efforts in Ukraine. Blending modern design with centuries of tradition, the showcase celebrates the resilience and artistry of Ukrainian culture.\u003c/p>\n\u003cp>Featured designer \u003ca href=\"https://roksolanabogutska.com/en/\">Roksolana Bogutska\u003c/a> brings her signature fusion of contemporary style and national heritage to the spotlight, alongside curated garments from collector \u003ca href=\"https://www.instagram.com/mariyamulyava_studio/?hl=en\">Mariya Mulyava\u003c/a>, known for her rare and authentic traditional pieces. Guests can expect symbolic embroidery, timeless silhouettes and a warm cultural atmosphere, complete with wine, appetizers and meaningful conversations.\u003c/p>\n\u003cfigure id=\"attachment_13980195\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-scaled.jpg\" alt=\"A woman poses on the runway in a sparkly short dress. A man wears a pinstripe suit and hat. \" width=\"2560\" height=\"1910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-2000x1493.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-1536x1146.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/healing-institute-fashion-show-2048x1528.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the 2024 Walking In Life fashion show. \u003ccite>(Auintard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thehealinginstitute.org/\">Walking in Life Fashion Event and Luncheon\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sept. 28, \u003c/i>\u003ci>1-5 p.m. \u003c/i>\u003cbr>\n\u003ci>San Ramon Marriott, San Ramon\u003c/i>\u003c/p>\n\u003cp>For its sixth year in a row, \u003ca href=\"https://thehealinginstitute.org/\">The Healing Institute Global Network\u003c/a> presents “Walking in Life,” an annual fashion show and fundraiser that shines a spotlight on strength, style and survivorship. Held in support of the organization’s mission to provide emotional support services to patients, the event features cancer survivors walking down the runway in styles by Macy’s. Each step down the catwalk is a celebration, demonstrating what means not only to survive, but to heal.\u003c/p>\n\u003cfigure id=\"attachment_13980503\" class=\"wp-caption aligncenter\" style=\"max-width: 1179px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502.jpeg\" alt=\"\" width=\"1179\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502.jpeg 1179w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502-160x183.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/IMG_6502-768x880.jpeg 768w\" sizes=\"auto, (max-width: 1179px) 100vw, 1179px\">\u003cfigcaption class=\"wp-caption-text\">One of the many runway looks at Marin Fashion Night 2024. \u003ccite>(Courtesy of Marin Fashion Night)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/sonas-charleston-pierce-present-marin-fashion-night-oct-4th-2025-tickets-1330560114119\">Marin Fashion Night\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 4, \u003c/i>\u003ci>5-11 p.m. \u003c/i>\u003cbr>\n\u003ci>Headlands Center for the Arts, Sausalito\u003c/i>\u003c/p>\n\u003cp>Hosted by\u003ca href=\"https://www.sonasdenim.com/?fbclid=PAZXh0bgNhZW0CMTEAAafeZl0OcBwRwrw2BQ0Xi_0DvQZaVVtCqbxV4eYSWvG4y4phxp_IWFRusKLOxA_aem_GitusvkjFJWntAtQFx7_dA\"> Sonas\u003c/a>, a boutique known for its eclectic, curated pieces, and longtime Bay Area fashion producer \u003ca href=\"https://sanfranciscomodelingcoach.com/\">Charleston Pierce\u003c/a>, Marin Fashion Night brings together six local designers for an evening rooted in community and creative expression.\u003c/p>\n\u003cp>The night unfolds with drinks and conversation, followed by a runway show choreographed by Pierce. A fire dancing performance and a DJ set close out the evening. This event is part fashion showcase, part neighborhood gathering. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003cstrong>\u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week \u003c/a>\u003c/strong>\u003c/h2>\n\u003cp>\u003ci>Oct. 8–12\u003c/i>\u003cbr>\n\u003ci>Various locations, Oakland\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For five days, Oakland Style Week will turn the Town into a runway. The lineup stretches from the Claremont Club’s \u003c/span>\u003ca href=\"https://www.visitoakland.com/oakland-style/high-tea-high-fashion/\">\u003cspan style=\"font-weight: 400\">High Tea & Style\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> event with informal modeling, to \u003c/span>\u003ca href=\"https://www.visitoakland.com/oakland-style/cuisine-couture/\">\u003cspan style=\"font-weight: 400\">Cuisine and Couture \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">at the Oakland Museum of California, where Oakland School for the Arts students debut designs inspired by the city’s vibrant culinary scene. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The week also features immersive maker labs with Creative Growth, interactive workshops, art competitions, walking art tours, and \u003c/span>\u003ca href=\"https://www.visitoakland.com/event/black-cultural-zone-presents%3a-a-living-runway-%7c-oakland-style-2025/34271/\">\u003cspan style=\"font-weight: 400\">A Living Runway\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, presented by Black Cultural Zone. This is where fashion meets food, art dances with music and the city’s creativity takes center stage.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2025",
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"content": "\u003cfigure id=\"attachment_13979888\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed.jpg\" alt=\"A woman puckers her lips while showing off pink and red knit gloves and hat, wearing earrings and small sparkly adornments on her face\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gina Lomeli, “electric fairy,” 40, wears colorful knit wear to Outside Lands on Sunday, August 10, 2025. Lomeli made the gloves, hat and her cardigan by hand. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music festivals like \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> always bring out hot fits — even in Golden Gate Park’s chilly, foggy mist. This past weekend, photographer Estefany Gonzalez was on the scene at Outside Lands for photos of fans and their festival fashion.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>See more photos and highlights from Outside Lands on \u003ca href=\"https://www.kqed.org/arts/13979757/outside-lands-2025-review-recap-photos-doechii-tyler-the-creator\">Friday\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13979822/outside-lands-review-tyler-the-creator-larussell-gracie-abrams\">Saturday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13979849/outside-lands-review-photos-anderson-paak-jorja-smith-hozier-ca7riel-paco-amoroso\">Sunday\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13979893\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979893\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Courtney Willoughby, 18, and her sister Sydney Willoughby, 22, wear coordinated orange outfits at Outside Lands on Sunday, August 10, 2025. The pair wanted to match for their first-ever Outside Lands. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979884 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Digital KitKat, 34, a Bay Area based DJ, wears a studded Virgin Mary hat to Outside Lands on Saturday, August 9, 2025. Digital KitKat is one of the many local DJ’ who performed at Casa Bacardí during the three day festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979876\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angel Moua, 31, wears a bandana and large sunglasses to Outside Lands on Saturday, August 9, 2025. Moua traveled to Golden Gate Park from Sacramento to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979891\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nori Nakayama, right, poses for a portrait as Glass Animals performs at Outside Lands on Saturday, August 9, 2025. Singer Dave Bayley pointed to Nakayama during Glass Animals’ set and and made note that Nakayama attended the bands first ever Bay Area concert several years ago. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979882\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Sherman, 36, wears a thrifted fringe jacket to Outside Lands on Saturday, August 9, 2025. Sherman, a regular Oasis patron, was one of the many people enjoying drag performances at the Dolores’ stage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979875\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mario Gonzalez, 23, and partner Sara Ramirez, 22, wear bucket hats Ramirez made by hand to Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979879\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979879\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Steffi Espinosa, 26, left, and Darby Shore, 26, hold ‘Wicked’ dolls at the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979889\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Nico Cerda, Cami Castro, and Alex Favela, wear matching party hats at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Baalti poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979894\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979894\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Willoughby, 18, wears layered necklaces at Outside Lands on Sunday, August 10, 2025. Willoughby attended the festival with her holder sister Sydney Willoughby, and wore coordinated orange outfits. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979895\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">EJ Viray, 33, dances as Anderson .Paak performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979890\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Paco Amoroso poses for a portrait at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979886\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979886\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ben Van Deusen, center left, and Victoria Edwards watch Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. The two wore fuzzy blue hats inspired by the one Paco Amoroso had on during Ca7riel and Paco Amoroso’s NPR Tiny Desk performance. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979883\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Les Tran, 35, cuddles with Joshua Tree, 29, at Outside Lands on Saturday, August 9, 2025. The two met on Grindr an hour before catching a drag performance at Dolores’ stage together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979881\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">People cheer as Kitty Litter and Évian perform on the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Gaerlan, 30, center left, and Jordan Castro, 26, dance as LaRussell performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979870\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979880\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah Ketterer, 26, fans himself as he dances at the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979872\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festival goers dance along the Panhandle stage as Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans dance in the front of the Lands End Stage as LaRussell performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "At Outside Lands, fans showed up in their freshest festival fits.",
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"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2025 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979888\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979888\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed.jpg\" alt=\"A woman puckers her lips while showing off pink and red knit gloves and hat, wearing earrings and small sparkly adornments on her face\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_091_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gina Lomeli, “electric fairy,” 40, wears colorful knit wear to Outside Lands on Sunday, August 10, 2025. Lomeli made the gloves, hat and her cardigan by hand. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music festivals like \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> always bring out hot fits — even in Golden Gate Park’s chilly, foggy mist. This past weekend, photographer Estefany Gonzalez was on the scene at Outside Lands for photos of fans and their festival fashion.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>See more photos and highlights from Outside Lands on \u003ca href=\"https://www.kqed.org/arts/13979757/outside-lands-2025-review-recap-photos-doechii-tyler-the-creator\">Friday\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13979822/outside-lands-review-tyler-the-creator-larussell-gracie-abrams\">Saturday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13979849/outside-lands-review-photos-anderson-paak-jorja-smith-hozier-ca7riel-paco-amoroso\">Sunday\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13979893\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979893\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_107_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Courtney Willoughby, 18, and her sister Sydney Willoughby, 22, wear coordinated orange outfits at Outside Lands on Sunday, August 10, 2025. The pair wanted to match for their first-ever Outside Lands. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13979884 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_064_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Digital KitKat, 34, a Bay Area based DJ, wears a studded Virgin Mary hat to Outside Lands on Saturday, August 9, 2025. Digital KitKat is one of the many local DJ’ who performed at Casa Bacardí during the three day festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979876\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_043_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angel Moua, 31, wears a bandana and large sunglasses to Outside Lands on Saturday, August 9, 2025. Moua traveled to Golden Gate Park from Sacramento to attend the festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979891\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_100_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nori Nakayama, right, poses for a portrait as Glass Animals performs at Outside Lands on Saturday, August 9, 2025. Singer Dave Bayley pointed to Nakayama during Glass Animals’ set and and made note that Nakayama attended the bands first ever Bay Area concert several years ago. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_13_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_045_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell poses for a portrait backstage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979882\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979882\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_062_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Sherman, 36, wears a thrifted fringe jacket to Outside Lands on Saturday, August 9, 2025. Sherman, a regular Oasis patron, was one of the many people enjoying drag performances at the Dolores’ stage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979875\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_042_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mario Gonzalez, 23, and partner Sara Ramirez, 22, wear bucket hats Ramirez made by hand to Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979879\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979879\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_051_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Steffi Espinosa, 26, left, and Darby Shore, 26, hold ‘Wicked’ dolls at the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979889\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979889\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_092_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Nico Cerda, Cami Castro, and Alex Favela, wear matching party hats at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_06_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Baalti poses for a portrait at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979894\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979894\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_108_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Courtney Willoughby, 18, wears layered necklaces at Outside Lands on Sunday, August 10, 2025. Willoughby attended the festival with her holder sister Sydney Willoughby, and wore coordinated orange outfits. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979895\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_117_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">EJ Viray, 33, dances as Anderson .Paak performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979890\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979890\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_096_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Paco Amoroso poses for a portrait at Outside Lands on Sunday, August 10, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979886\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979886\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_089_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ben Van Deusen, center left, and Victoria Edwards watch Ca7riel and Paco Amoroso perform at Outside Lands on Sunday, August 10, 2025. The two wore fuzzy blue hats inspired by the one Paco Amoroso had on during Ca7riel and Paco Amoroso’s NPR Tiny Desk performance. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979883\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979883\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_063_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Les Tran, 35, cuddles with Joshua Tree, 29, at Outside Lands on Saturday, August 9, 2025. The two met on Grindr an hour before catching a drag performance at Dolores’ stage together. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979881\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_060_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">People cheer as Kitty Litter and Évian perform on the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_041_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Gaerlan, 30, center left, and Jordan Castro, 26, dance as LaRussell performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979870\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979870\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Christie O’ Neill, 35, wears a disco ball helmet at Outside Lands on Friday, August 8, 2025. O’ Neill bought the helmet during a trip to Massachusetts and liked it so much she wore it on the plane ride back to California when it didn’t fit in her luggage. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979880\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_055_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah Ketterer, 26, fans himself as he dances at the Dolores’ stage at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979872\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outside-Lands_EG_19_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festival goers dance along the Panhandle stage as Fcukers perform at Outside Lands on Friday, August 8, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13979873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/08082025_Outsidelands_EG_036_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans dance in the front of the Lands End Stage as LaRussell performs at Outside Lands on Saturday, August 9, 2025. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "eugene-tssui-emeryville-residency-bay-street-architecture-fashion",
"title": "Eugene Tssui Brings His Futuristic Visions to an Emeryville Residency",
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"headTitle": "Eugene Tssui Brings His Futuristic Visions to an Emeryville Residency | KQED",
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"content": "\u003cp>Eugene Tssui loves to feel like a kid again.\u003c/p>\n\u003cp>A man of many talents, Tssui (pronounced “sway”) established himself as an innovative and eco-focused architect in the ’90s, creating Bay Area fixtures such as the “\u003ca href=\"https://en.wikipedia.org/wiki/Ojo_del_Sol\">Fish House\u003c/a>” in Berkeley and the remodeled kitchen of the \u003ca href=\"https://www.kqed.org/news/11828932/the-architect-who-built-the-flintstone-house-explains-its-origin-story\">Flintstone House\u003c/a> in Hillsborough. \u003c/p>\n\u003cp>Not one to limit himself to a single discipline, he’s also made a name for himself as a painter and fashion designer (a sparkly purple space-like suit is one of his signature looks). He’s competed in gymnastics and boxing, and, at 70, he just started wrestling. He’s also a composer, pianist, flamenco guitarist and drummer.\u003c/p>\n\u003cp>“The whole retiring mentality? No. You have to keep going,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13973294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui points to a book of his writing at his exhibition at the Rotten City Cultural District in Emeryville, where he alternates the direction of each line, starting left to right, then right to left. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, Tssui is the 2025 Architect/Artist in Residence for the City of Emeryville, with a career-spanning retrospective on view at Bay Street plaza through March 30. The project is part of the Rotten City Cultural District, developed by the California Arts Council, which seeks to advance Emeryville’s creative scene. As part of the residency, Tssui is dreaming up a self-sufficient, “true-zero” energy building for the city that he hopes will one day become a reality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside the Rotten City Cultural District gallery on Bay Street, Tssui offers a peek into his world of climate solutions through unconventional design. Tssui designs buildings entirely based on nature, from the exterior composition to their inner workings. The result is like something out of a sci-fi movie — a sole structure that perseveres through some post-apocalyptic scene, bending and breathing with the elements. It is in these other worlds where his mind lives.\u003c/p>\n\u003ch2>Working with, not against, nature\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Tssui came to the Bay Area in 1983 to attend UC Berkeley for his master’s and PhD studies. He fell in love with California’s natural coastline and the Bay Area’s reputation as an innovation hub, and he wanted to contribute to that innovation outside of just technology.\u003c/p>\n\u003cfigure id=\"attachment_13973296\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Fish House,’ designed by Eugene Tssui, in Berkeley on March 17, 2025, an example of organic architecture. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He focuses on the concept of “nature as teacher,” designing buildings, clothing and even furniture based on organic sources. His goal is to structurally and functionally work with nature rather than resisting it. The “Fish House,” formally titled \u003ci>Ojo del Sol\u003c/i>, which Tssui designed for his parents in 1994, was modeled after the microscopic tardigrade, known for its extreme durability.\u003c/p>\n\u003cp>He’s created several hundred intricately detailed, nature-based designs for unrealized buildings, including a two-mile-high skyscraper for San Francisco based on a termite mound and intended to house one million people. For decades, Tssui’s biology-based approach was not widely accepted. \u003c/p>\n\u003cp>“I feel like, gee, I’m just a lone voice in the wilderness,” says Tssui. “All it takes is one first voice and things start happening. If that’s what I’m going to be, then so be it.”\u003c/p>\n\u003cp>However, Tssui says he’s now hosted over 500 interns who seek him out specifically for his independent way of thinking. His work has become more iconic with age and the progression of climate issues. The modern green building movement, which seeks to combine nature into design and transcend net-zero carbon goals, follows closely behind Tssui, who has delved into these concepts for his entire career. \u003c/p>\n\u003cfigure id=\"attachment_13973292\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui in his Emeryville residency exhibition, which includes his nature-inspired architectural designs, photos of the renowned ‘Fish House,’ his clothing designs and art. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really feel like my career is just beginning because with climate change and global warming, suddenly my work becomes totally relevant,” he says.\u003c/p>\n\u003cp>Tssui believes that conventional architectural efforts fail to minimize the effects of climate change, as these buildings are often unnatural, inefficient and structurally unreliable.\u003c/p>\n\u003cp>“Nature itself never creates a box,” he explains. “It is such a terrible geometric form that has no strength, no ability to resist stress and strain. And here we are doing nothing but boxes.”\u003c/p>\n\u003ch2>Tssui’s vision for Emeryville\u003c/h2>\n\u003cp>Tssui’s nonconformist art currently sits in a large, rectangular space on the first floor of the Bay Street plaza, filled to the brim with his work. Over a hundred sketches, hand-painted portraits, images of constructed buildings and architectural blueprints line the walls.\u003c/p>\n\u003cfigure id=\"attachment_13973290\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui sketches in a notebook at his exhibition. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Tssui’s building designs are commissioned by clients, others are for himself. The majority serve as futuristic fantasies, too advanced for the limitations of city planning departments.\u003c/p>\n\u003cp>Only six of his designs have ever been built, with two currently pending in Mount Shasta. One is a remodel of a home in the area. The other is a personal project of Tssui’s — an underground athletic training and scientific research facility. The building is designed as a bio-conscious amalgamation of Charlie Chaplin’s film studio, Thomas Edison’s laboratory and the Olympic Training Center. Sketches for both projects, from the rough drafts to their final components, are available for public viewing.\u003c/p>\n\u003cp>To complete his residency, Tssui plans to design a building for an actual empty plot of land in Emeryville. He’s waiting on the city planning department to provide the plot’s dimensions before he can fully develop the project, which he envisions as a “true-zero” energy building that would include an athletic facility, auditorium, vegan food court and rooftop garden.\u003c/p>\n\u003cp>“If [Emeryville is] serious about addressing the accelerating destruction of the planet, and architecture is 45% of that, then you will move forward with this project,” he asserts.\u003c/p>\n\u003ch2>At 70, still reinventing\u003c/h2>\n\u003cp>To understand Eugene Tssui is to take in the full scope of his multihyphenate practice, well beyond his architectural designs. His interdisciplinary exhibit on Bay Street also includes portraits of loved ones, abstract ceramics and books of his work. \u003c/p>\n\u003cfigure id=\"attachment_13973293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui wears a clothing design he created, which includes solar panels to allow the wearer to power their personal electronic devices. The medallion design draws inspiration from Mongolian traditions, reflecting symbols of strength and energy, like those worn by Genghis Khan’s horsemen. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samples of his fashion pieces suspended by poles divide areas of the gallery. Most of these pieces are variations on a bright, monochrome suit with a high collar and strategically placed openings. He says these qualities allow for natural heating and cooling of the body, while also enhancing mobility. For one cape-like ensemble, Tssui used a silver, reflective material with gold accents, which serves as insulation, absorbing light and minimizing the heat going back into the atmosphere.\u003c/p>\n\u003cp>Then there’s his musical and athletic achievements. In one image, Tssui performs a perfect handstand and splits at the Senior Olympics. In another, he stands triumphantly in his boxing attire as an eight-time amateur boxing champion. Learning new crafts throughout his life has engaged his childlike curiosity and maintained his passion. \u003c/p>\n\u003cp>For Tssui, everything on display is interconnected. The endurance and self-determination he’s honed through sports and music are apparent in the intricate details of his drawings and textile work. Through his architecture and fashion designs, he shows that biology can easily be applied to other fields of study.\u003c/p>\n\u003cp>Despite these broader concepts, Tssui’s goal for the residency is simple. He hopes his life serves as inspiration to others. This is what people can achieve if they pursue their passions and create their own lanes. Tssui is someone who has built a career defying the boxes we often put ourselves in.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Your sense of self-value is so important,” he says. “These things that I do bring me a sense of self-value and meaning and purpose in being alive to the world, and I want to share that with you.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eugene Tssui loves to feel like a kid again.\u003c/p>\n\u003cp>A man of many talents, Tssui (pronounced “sway”) established himself as an innovative and eco-focused architect in the ’90s, creating Bay Area fixtures such as the “\u003ca href=\"https://en.wikipedia.org/wiki/Ojo_del_Sol\">Fish House\u003c/a>” in Berkeley and the remodeled kitchen of the \u003ca href=\"https://www.kqed.org/news/11828932/the-architect-who-built-the-flintstone-house-explains-its-origin-story\">Flintstone House\u003c/a> in Hillsborough. \u003c/p>\n\u003cp>Not one to limit himself to a single discipline, he’s also made a name for himself as a painter and fashion designer (a sparkly purple space-like suit is one of his signature looks). He’s competed in gymnastics and boxing, and, at 70, he just started wrestling. He’s also a composer, pianist, flamenco guitarist and drummer.\u003c/p>\n\u003cp>“The whole retiring mentality? No. You have to keep going,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13973294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-33-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui points to a book of his writing at his exhibition at the Rotten City Cultural District in Emeryville, where he alternates the direction of each line, starting left to right, then right to left. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, Tssui is the 2025 Architect/Artist in Residence for the City of Emeryville, with a career-spanning retrospective on view at Bay Street plaza through March 30. The project is part of the Rotten City Cultural District, developed by the California Arts Council, which seeks to advance Emeryville’s creative scene. As part of the residency, Tssui is dreaming up a self-sufficient, “true-zero” energy building for the city that he hopes will one day become a reality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inside the Rotten City Cultural District gallery on Bay Street, Tssui offers a peek into his world of climate solutions through unconventional design. Tssui designs buildings entirely based on nature, from the exterior composition to their inner workings. The result is like something out of a sci-fi movie — a sole structure that perseveres through some post-apocalyptic scene, bending and breathing with the elements. It is in these other worlds where his mind lives.\u003c/p>\n\u003ch2>Working with, not against, nature\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Tssui came to the Bay Area in 1983 to attend UC Berkeley for his master’s and PhD studies. He fell in love with California’s natural coastline and the Bay Area’s reputation as an innovation hub, and he wanted to contribute to that innovation outside of just technology.\u003c/p>\n\u003cfigure id=\"attachment_13973296\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-37-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Fish House,’ designed by Eugene Tssui, in Berkeley on March 17, 2025, an example of organic architecture. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He focuses on the concept of “nature as teacher,” designing buildings, clothing and even furniture based on organic sources. His goal is to structurally and functionally work with nature rather than resisting it. The “Fish House,” formally titled \u003ci>Ojo del Sol\u003c/i>, which Tssui designed for his parents in 1994, was modeled after the microscopic tardigrade, known for its extreme durability.\u003c/p>\n\u003cp>He’s created several hundred intricately detailed, nature-based designs for unrealized buildings, including a two-mile-high skyscraper for San Francisco based on a termite mound and intended to house one million people. For decades, Tssui’s biology-based approach was not widely accepted. \u003c/p>\n\u003cp>“I feel like, gee, I’m just a lone voice in the wilderness,” says Tssui. “All it takes is one first voice and things start happening. If that’s what I’m going to be, then so be it.”\u003c/p>\n\u003cp>However, Tssui says he’s now hosted over 500 interns who seek him out specifically for his independent way of thinking. His work has become more iconic with age and the progression of climate issues. The modern green building movement, which seeks to combine nature into design and transcend net-zero carbon goals, follows closely behind Tssui, who has delved into these concepts for his entire career. \u003c/p>\n\u003cfigure id=\"attachment_13973292\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-27-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui in his Emeryville residency exhibition, which includes his nature-inspired architectural designs, photos of the renowned ‘Fish House,’ his clothing designs and art. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really feel like my career is just beginning because with climate change and global warming, suddenly my work becomes totally relevant,” he says.\u003c/p>\n\u003cp>Tssui believes that conventional architectural efforts fail to minimize the effects of climate change, as these buildings are often unnatural, inefficient and structurally unreliable.\u003c/p>\n\u003cp>“Nature itself never creates a box,” he explains. “It is such a terrible geometric form that has no strength, no ability to resist stress and strain. And here we are doing nothing but boxes.”\u003c/p>\n\u003ch2>Tssui’s vision for Emeryville\u003c/h2>\n\u003cp>Tssui’s nonconformist art currently sits in a large, rectangular space on the first floor of the Bay Street plaza, filled to the brim with his work. Over a hundred sketches, hand-painted portraits, images of constructed buildings and architectural blueprints line the walls.\u003c/p>\n\u003cfigure id=\"attachment_13973290\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui sketches in a notebook at his exhibition. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Tssui’s building designs are commissioned by clients, others are for himself. The majority serve as futuristic fantasies, too advanced for the limitations of city planning departments.\u003c/p>\n\u003cp>Only six of his designs have ever been built, with two currently pending in Mount Shasta. One is a remodel of a home in the area. The other is a personal project of Tssui’s — an underground athletic training and scientific research facility. The building is designed as a bio-conscious amalgamation of Charlie Chaplin’s film studio, Thomas Edison’s laboratory and the Olympic Training Center. Sketches for both projects, from the rough drafts to their final components, are available for public viewing.\u003c/p>\n\u003cp>To complete his residency, Tssui plans to design a building for an actual empty plot of land in Emeryville. He’s waiting on the city planning department to provide the plot’s dimensions before he can fully develop the project, which he envisions as a “true-zero” energy building that would include an athletic facility, auditorium, vegan food court and rooftop garden.\u003c/p>\n\u003cp>“If [Emeryville is] serious about addressing the accelerating destruction of the planet, and architecture is 45% of that, then you will move forward with this project,” he asserts.\u003c/p>\n\u003ch2>At 70, still reinventing\u003c/h2>\n\u003cp>To understand Eugene Tssui is to take in the full scope of his multihyphenate practice, well beyond his architectural designs. His interdisciplinary exhibit on Bay Street also includes portraits of loved ones, abstract ceramics and books of his work. \u003c/p>\n\u003cfigure id=\"attachment_13973293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/250317-EUGENETSSUI-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eugene Tssui wears a clothing design he created, which includes solar panels to allow the wearer to power their personal electronic devices. The medallion design draws inspiration from Mongolian traditions, reflecting symbols of strength and energy, like those worn by Genghis Khan’s horsemen. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samples of his fashion pieces suspended by poles divide areas of the gallery. Most of these pieces are variations on a bright, monochrome suit with a high collar and strategically placed openings. He says these qualities allow for natural heating and cooling of the body, while also enhancing mobility. For one cape-like ensemble, Tssui used a silver, reflective material with gold accents, which serves as insulation, absorbing light and minimizing the heat going back into the atmosphere.\u003c/p>\n\u003cp>Then there’s his musical and athletic achievements. In one image, Tssui performs a perfect handstand and splits at the Senior Olympics. In another, he stands triumphantly in his boxing attire as an eight-time amateur boxing champion. Learning new crafts throughout his life has engaged his childlike curiosity and maintained his passion. \u003c/p>\n\u003cp>For Tssui, everything on display is interconnected. The endurance and self-determination he’s honed through sports and music are apparent in the intricate details of his drawings and textile work. Through his architecture and fashion designs, he shows that biology can easily be applied to other fields of study.\u003c/p>\n\u003cp>Despite these broader concepts, Tssui’s goal for the residency is simple. He hopes his life serves as inspiration to others. This is what people can achieve if they pursue their passions and create their own lanes. Tssui is someone who has built a career defying the boxes we often put ourselves in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Your sense of self-value is so important,” he says. “These things that I do bring me a sense of self-value and meaning and purpose in being alive to the world, and I want to share that with you.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-hot-looks-fan-fashions-at-portola-fest-2024",
"title": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024",
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"content": "\u003cp>Now in its third year, the Portola Music Festival has become one of the hottest tickets in town for fans of electronic and club music. For two days, Sept. 28–29, San Francisco’s Pier 80 transformed into a giant rave — if you’ll allow the expansion of the term “rave,” with its roots in underground music and culture, to include a festival put on by a major corporate promoter.\u003c/p>\n\u003cp>More than 30,000 attendees got decked out each day to dance and vibe beneath a glittering disco ball, taking in sets by Jessie Ware, Disclosure, M.I.A., hometown heroes Deltron 3030 and more. Photographer Estefany Gonzalez was on the scene for photos of fans and their festival fashions.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13965719/portola-festival-review-photos-san-francisco-2024\">See photos of performances and read more about the weekend here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lola Fadojutimi, 30, wears red sunglasses at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Fadojutimi currently lives in Washington, D.C., and was so excited about the lineup that she decided to purchase tickets despite the fact that she’s moving to New York as soon as she returns from her trip. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gal Azulay, 25, twirls a glowing rave toy as Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. Azulay was one of the many people in attendance with neon accessories. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emilio Arias, 36, wears a Victorian-style wig at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965753\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Janie Flores, 29, dances with her doll at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965742\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robby Alva, 29, and his partner Cesar Delgado, 29, hold hands at at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965740\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Romero, 30, uses a parasol decorated with colorful charms to protect herself from the sun at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Romero, a festival enthusiast, has taken the parasol with her to countless festivals, considers it a staple, and has repaired it each time a charm falls off. “It’s been through a lot,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965752\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shashank Shivashankar, 28, center, dances at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965761\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Herrera, 34, waves a rainbow fan as Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965759\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sungho Yoo, 37, center, and friends dress as fruit salad at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People dance as Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alyssa Tarango, 21, uses a pacifier as thousands of people gather at the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas Gerst, 30, decorates his spiked hair with safety pins at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Biggs, 30, center, dances with their friends as Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Ixcoy, 22, watches Horsegiirl perform from the front row of the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aaron Bermillo, 26, center, wears a vibrant, handmade fur outfit at the Ship Tent during Rebecca Black’s performance at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tatiana Henriquez, 25, sits on her friend’s shoulders as she watches Horsegiirl perform at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris Tan, 25, waves an inflatable pickle in the air as Mochakk performs at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965815\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A festival attendee wears light up fur leg warmers at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person identifying as “Granny” walks toward the Crane Stage as Natasha Bedingfield takes the stage at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Feldman, 35, right, hugs his friend as Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noheli Sotelo, 26, center, watches Mochakk perform at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melonee Sanchez, 21, wears colorful bracelets at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. The bracelets Sanchez wears are often referred to as kandi bracelets at raves and are often exchanged to commemorate a friendship. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shai Moya, 25, center, and friends party at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965755\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965755\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Linda Gordon, 55, and her dog Brixton, 11, stun in their shades at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Attendees brought out their best fits and neon accessories for the electronic music festival.",
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"title": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024 | KQED",
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"headline": "Photos: Hot Looks, Fan Fashions at Portola Fest 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its third year, the Portola Music Festival has become one of the hottest tickets in town for fans of electronic and club music. For two days, Sept. 28–29, San Francisco’s Pier 80 transformed into a giant rave — if you’ll allow the expansion of the term “rave,” with its roots in underground music and culture, to include a festival put on by a major corporate promoter.\u003c/p>\n\u003cp>More than 30,000 attendees got decked out each day to dance and vibe beneath a glittering disco ball, taking in sets by Jessie Ware, Disclosure, M.I.A., hometown heroes Deltron 3030 and more. Photographer Estefany Gonzalez was on the scene for photos of fans and their festival fashions.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13965719/portola-festival-review-photos-san-francisco-2024\">See photos of performances and read more about the weekend here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_05-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lola Fadojutimi, 30, wears red sunglasses at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Fadojutimi currently lives in Washington, D.C., and was so excited about the lineup that she decided to purchase tickets despite the fact that she’s moving to New York as soon as she returns from her trip. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965814\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965814\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gal Azulay, 25, twirls a glowing rave toy as Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. Azulay was one of the many people in attendance with neon accessories. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965746\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emilio Arias, 36, wears a Victorian-style wig at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965753\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965753\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Janie Flores, 29, dances with her doll at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965742\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965742\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_06-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robby Alva, 29, and his partner Cesar Delgado, 29, hold hands at at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965740\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965740\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_04-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Romero, 30, uses a parasol decorated with colorful charms to protect herself from the sun at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. Romero, a festival enthusiast, has taken the parasol with her to countless festivals, considers it a staple, and has repaired it each time a charm falls off. “It’s been through a lot,” she said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965752\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965752\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shashank Shivashankar, 28, center, dances at the Ship Tent as Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965761\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amy Herrera, 34, waves a rainbow fan as Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965759\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965759\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sungho Yoo, 37, center, and friends dress as fruit salad at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People dance as Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965787\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_51-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alyssa Tarango, 21, uses a pacifier as thousands of people gather at the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965754\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965754\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_18-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thomas Gerst, 30, decorates his spiked hair with safety pins at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965797\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_61-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andie Biggs, 30, center, dances with their friends as Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965788\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965788\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_52-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Ixcoy, 22, watches Horsegiirl perform from the front row of the Ship Tent at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965785\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_49-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aaron Bermillo, 26, center, wears a vibrant, handmade fur outfit at the Ship Tent during Rebecca Black’s performance at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965792\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_56-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tatiana Henriquez, 25, sits on her friend’s shoulders as she watches Horsegiirl perform at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_64-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chris Tan, 25, waves an inflatable pickle in the air as Mochakk performs at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965815\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_79-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A festival attendee wears light up fur leg warmers at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_29-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A person identifying as “Granny” walks toward the Crane Stage as Natasha Bedingfield takes the stage at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965744\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_08-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason Feldman, 35, right, hugs his friend as Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_43-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965799\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_63-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noheli Sotelo, 26, center, watches Mochakk perform at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Concert goers watch Gesaffelstein perform at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melonee Sanchez, 21, wears colorful bracelets at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. The bracelets Sanchez wears are often referred to as kandi bracelets at raves and are often exchanged to commemorate a friendship. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965802\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_66-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shai Moya, 25, center, and friends party at the Warehouse Stage during Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965755\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965755\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Linda Gordon, 55, and her dog Brixton, 11, stun in their shades at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "silicon-valley-fashion-isnt-just-patagonia-bros",
"title": "Silicon Valley Fashion Isn’t Just Patagonia Bros",
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"headTitle": "Silicon Valley Fashion Isn’t Just Patagonia Bros | KQED",
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"content": "\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/siliconvalleyunseen\">Silicon Valley Unseen\u003c/a> is a series of photo essays, original reporting and underreported histories that survey the tech capital’s overlooked communities and subcultures from a local perspective.\u003c/em>\u003c/p>\n\u003cp>Hey Siri, what defines Silicon Valley fashion?\u003c/p>\n\u003cp>If you Google the phrase, you’ll get some obvious responses: “basic male,” “tech worker aesthetic,” “‘tech bro’ hoodie wardrobe.” But perhaps the most revealing result you’ll get is itself a question, one asked for years now: “Do people lack fashion sense in Silicon Valley?”\u003c/p>\n\u003cp>Look, I’m not here to defend Silicon Valley’s fashion choices. But I can’t help but notice two things. First off, Silicon Valley style seems inextricably linked to tech culture, thereby erasing any other local presence, as if only tech workers wear clothes around here. And secondly, the tech workers being ridiculed are often white, well-off, middle-aged men — not exactly the best barometer of fashion.\u003c/p>\n\u003cfigure id=\"attachment_13964340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesson Ny thrifts at Classic Loot. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, there’s Santana Row — Silicon Valley’s Beverly Hills-esque shopping area — gleaming with high-end luxury brands and a Tesla dealership. It’s where you’ll find all the stereotypical tech-mogul outfits. That side of Silicon Valley is real.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are nooks around here where the norm is not “Patagucci.” Cultivated by punk rockers, skaters, hip-hop heads, nightclub-goers, Chicano lowrider clubs, strip mall addicts, anime convention-goers and more, the styles around Silicon Valley vary just as much as its diverse population.\u003c/p>\n\u003cfigure id=\"attachment_13964347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964347\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Denim for sale at Classic Loot. The store features a mix of used and new clothes, as well as other handmade items from local artisans. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tam Tran, a first-generation Vietnamese American, is among them. Born in San Francisco in the ’80s, she moved to San Jose at age four and has gone back and forth between the cities ever since. After a career in graphic design, the fashionable millennial started a pop-up version of \u003ca href=\"https://www.instagram.com/classicloot/?hl=en\">Classic Loot\u003c/a> in 2012. Her passion eventually turned into a quirky, glittery thrift shop in San Jose’s Japantown filled with vintage goods and hard-to-find collectibles, like a double-stacked Japanese claw machine.\u003c/p>\n\u003cp>Unfortunately, like many adults in Silicon Valley who don’t work in tech, Tran recently had to move out of the area due to the high cost of living.\u003c/p>\n\u003cp>“It became unlivable,” she said. “I tried getting apartments out there, but it’s an arm and a leg to live in a box.”\u003c/p>\n\u003cfigure id=\"attachment_13964485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Leyna Huynh shops at Classic Loot, which has been in San Jose’s Japantown for seven years.\u003c/figcaption>\u003c/figure>\n\u003cp>That hasn’t stopped Tran from running her speciality shop. If anything, being away from Silicon Valley makes her appreciate the region’s culture more than ever (she especially misses \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">the area’s vibrant Vietnamese food circuit\u003c/a>).\u003c/p>\n\u003cp>While juggling many roles and holding down her shop, Tran reflected on what she most enjoys about thrifting in the Valley.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: Tell us about your clothing shop, Classic Loot.\u003c/b>\u003c/p>\n\u003cp>\u003cb>TAM TRAN:\u003c/b> Classic Loot is a whole lot of everything. We’re an actual team now, but I started off doing pop-up events, table events, just selling vintage jewelry. That was back in 2012 when vintage wasn’t a major thing like it is today. I remember getting comments from people freaking out that everything [we sold] was used and worn. But now we’re a shop in Japantown, and we’ve been here for seven years. Everything blossomed from selling vintage clothing to handmade goods and art, to brand new stuff. It’s just a collection of everything I think is dope. And I’m honored to have a great team, girls who are a lot younger and know all the trends and cool things happening. They recommend what we should have, and then we get it. That’s the joy and freedom of having a small business.\u003c/p>\n\u003cfigure id=\"attachment_13964349\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964349\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stickers for sale at Classic Loot. The shop also features a double-stacked Japanese claw machine, where customers can try their luck at winning small items. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your connection to Silicon Valley? You were born in San Francisco, but moved to San Jose at a young age. Where do you feel most rooted, especially in terms of fashion?\u003c/b>\u003c/p>\n\u003cp>I definitely spend more of my time in San Jose, but most of my adult life has also been inspired by San Francisco. I attended the San Francisco Art Institute for graphic design. Over there, people talk down on [Silicon Valley], like our fashion is lame, or whatever. During that period, there wasn’t social media quite yet, so people [outside of San Francisco] didn’t always get the same recognition. But because of social media nowadays, you can really be anywhere and be the dopest kid. It doesn’t matter where you’re from.\u003c/p>\n\u003cp>I moved back to San Jose after graduating. I became a graphic designer for a while, freelancing and doing commercial real estate. It was boring and terrible, but it paid the bills. Actually, I would never change it for anything, because what I learned professionally, I apply it to Classic Loot to this day. But I didn’t like to work for “the man.” So I went to a garage sale and started buying stuff and selling it on Instagram. I quit the day job I had and moved into my mom’s house and started hustling.\u003c/p>\n\u003cp>\u003cb>There’s a popular opinion that Silicon Valley is fashion-less. People always joke about tech workers wearing Patagonia vests. But what does local style look like to you as an insider?\u003c/b>\u003c/p>\n\u003cp>From an outsider’s perspective I can see how it might not seem like we have much going on down here besides the tech world. But we have the coolest kids who come here and we get to see how they express their fashion sense. Because of the markets and events we go to, we get to see that type of crowd all over this area. The scene is small and niche, but once you’re tapped in, you really appreciate everyone’s way of expressing themselves differently through clothes.\u003c/p>\n\u003cp>The girls who work [at Classic Loot], they’re really an inspiration for me and the customers. I’m in my late 30s, so to see the younger generation experimenting every day is really cool. They like to mix new trends with things that I wore when I was growing up, and I love that.\u003c/p>\n\u003cfigure id=\"attachment_13964343\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Classic Loot owner Tam Tran poses for a photo in her thrift store. Though born in San Francisco, she grew up in San Jose, and is proud to represent the region’s under appreciated fashion community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where do you find your inspiration in Silicon Valley as a thrifter?\u003c/b>\u003c/p>\n\u003cp>There are tons of Savers, Goodwills, those kinds of places around here. But those are hit or miss, because it’s thrifting. Japantown has a few small businesses with a local feel. There are lots of \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">young entrepreneurs here with cool brands\u003c/a>. JUBO. Cukui. Headliners. We all support each other. Another heavy hitter is \u003ca href=\"https://www.instagram.com/blackandbrownsj/\">Black and Brown\u003c/a>. They have a solid curation of secondhand stuff like us, but with a different feel.\u003c/p>\n\u003cp>Also, one of our friends at \u003ca href=\"https://www.instagram.com/popupsj/?hl=en\">Pop Up SJ\u003c/a> has vendors come to The Garden at the [Berryessa] Flea [Market]. That’s \u003ca href=\"https://midpenpost.org/2024/06/30/san-joses-pop-up-sj-brings-local-vintage-community-together/\">a cool vintage market event\u003c/a>. Everyone is dressed to impress there. It’s an event to go thrifting there, but it’s also like a runway for our little area. They have some of the coolest vintage clothing finds there, and it’s close to BART.\u003c/p>\n\u003cp>But don’t sleep on the [West Wind] \u003ca href=\"https://www.sanjose.org/attraction/west-wind-capitol-flea-market\">Flea Market on Capitol\u003c/a>. That’s the best one. It’s the smaller flea market, but it’s where the good stuff is for the cheapest prices. We do team bonding there and thrift together sometimes. It used to be our hidden place, but that changed after \u003ca href=\"https://www.tiktok.com/discover/capital-flea-market-san-jose\">TikTok blew up the spot\u003c/a>.\u003c/p>\n\u003cp>\u003cb>San Jose seems to have a thing for expensive brands, which you can find at Santana Row and Valley Fair — the high-end stuff that gives more of an L.A. vibe, as opposed to the grungy and artistic ethos often associated with San Francisco or Oakland. \u003c/b>\u003c/p>\n\u003cp>Yeah, I feel like San Jose gets the reputation of being more bougie. Personally, I don’t set foot into a mall anymore. I try to shop small and stay within the thrift shops here. And I don’t really support the big box stuff online either.\u003c/p>\n\u003cfigure id=\"attachment_13964351\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964351\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-1536x1005.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-1920x1257.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley is often associated with high-end products, especially because of Santana Row and Westfield Valley Fair. Though these Gucci sneakers are for sale at Classic Loot, the store mostly focuses on quirky trends and offers all sorts of finds. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You showcase your local vendors very prominently on \u003c/b>\u003ca href=\"https://www.classicloot.com/vendor\">\u003cb>your website\u003c/b>\u003c/a>\u003cb>. How do you go about finding these vendors and what are you generally looking for in a potential vendor or thrifter to work with?\u003c/b>\u003c/p>\n\u003cp>Sometimes we just go out to markets and see booths and tables whose aesthetic would match what we have going on. But most times they contact us through Instagram. We have a vendor manager and she goes out scouting for people, or people come in and apply to be with us. It’s not just thrifting, we deal with artists, too. I was in their shoes at one point, making stuff to sell at other stores. Starting off on eBay or Etsy, you sometimes just end up with 5 cents after paying all the fees. I wish I had a mentor back then. So we want to provide that opportunity, and to help newcomers with the process. A lot of artisans are great but don’t necessarily know the business side of things. Price points, materials, marketing. We like to exchange tips and help them get started.\u003c/p>\n\u003cfigure id=\"attachment_13964345\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Classic Loot employee Annie Ng wears a heart choker. Shop owner Tam Tran is intentional about creating a work environment that is intergenerational, funky and “woman-powered.” \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Silicon Valley has a reputation as a male-dominated space. In contrast, your shop has a very strong, feminine energy. I’ve also heard you use the word “woman-powered.” What does that represent for you?\u003c/b>\u003c/p>\n\u003cp>When you walk into our store, it’s super pink and glittery. Guys come in and kind of creep back out and we’re like “no, no, no, we have a little section for you in the back, we promise!” We have a very small curation of masculine items, because girls can dress masculine, too. We’re predominantly all women here. It’s a sisterhood. It’s not just about the skills or the knowledge, but matching the energy. My whole thing as a designer is that you spend a lot of time at work, so if you fucking hate the people there, it won’t last. I really appreciate taking care of your people, because they will take care of you. Having this small business, we can create a space for each other. That’s the beauty of it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Classic Loot (570 N. 6th St., San Jose) is open Monday–Friday from 12 to 8 p.m., and Saturday and Sunday from 11 a.m. to 8 p.m.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A small business owner in San Jose’s Japantown shares her secrets about style and thrifting.",
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"title": "Silicon Valley Fashion Isn’t Just Patagonia Bros | KQED",
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"headline": "Silicon Valley Fashion Isn’t Just Patagonia Bros",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/siliconvalleyunseen\">Silicon Valley Unseen\u003c/a> is a series of photo essays, original reporting and underreported histories that survey the tech capital’s overlooked communities and subcultures from a local perspective.\u003c/em>\u003c/p>\n\u003cp>Hey Siri, what defines Silicon Valley fashion?\u003c/p>\n\u003cp>If you Google the phrase, you’ll get some obvious responses: “basic male,” “tech worker aesthetic,” “‘tech bro’ hoodie wardrobe.” But perhaps the most revealing result you’ll get is itself a question, one asked for years now: “Do people lack fashion sense in Silicon Valley?”\u003c/p>\n\u003cp>Look, I’m not here to defend Silicon Valley’s fashion choices. But I can’t help but notice two things. First off, Silicon Valley style seems inextricably linked to tech culture, thereby erasing any other local presence, as if only tech workers wear clothes around here. And secondly, the tech workers being ridiculed are often white, well-off, middle-aged men — not exactly the best barometer of fashion.\u003c/p>\n\u003cfigure id=\"attachment_13964340\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-8-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesson Ny thrifts at Classic Loot. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, there’s Santana Row — Silicon Valley’s Beverly Hills-esque shopping area — gleaming with high-end luxury brands and a Tesla dealership. It’s where you’ll find all the stereotypical tech-mogul outfits. That side of Silicon Valley is real.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there are nooks around here where the norm is not “Patagucci.” Cultivated by punk rockers, skaters, hip-hop heads, nightclub-goers, Chicano lowrider clubs, strip mall addicts, anime convention-goers and more, the styles around Silicon Valley vary just as much as its diverse population.\u003c/p>\n\u003cfigure id=\"attachment_13964347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964347\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-27-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Denim for sale at Classic Loot. The store features a mix of used and new clothes, as well as other handmade items from local artisans. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tam Tran, a first-generation Vietnamese American, is among them. Born in San Francisco in the ’80s, she moved to San Jose at age four and has gone back and forth between the cities ever since. After a career in graphic design, the fashionable millennial started a pop-up version of \u003ca href=\"https://www.instagram.com/classicloot/?hl=en\">Classic Loot\u003c/a> in 2012. Her passion eventually turned into a quirky, glittery thrift shop in San Jose’s Japantown filled with vintage goods and hard-to-find collectibles, like a double-stacked Japanese claw machine.\u003c/p>\n\u003cp>Unfortunately, like many adults in Silicon Valley who don’t work in tech, Tran recently had to move out of the area due to the high cost of living.\u003c/p>\n\u003cp>“It became unlivable,” she said. “I tried getting apartments out there, but it’s an arm and a leg to live in a box.”\u003c/p>\n\u003cfigure id=\"attachment_13964485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JapantownThriftShop-30-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Leyna Huynh shops at Classic Loot, which has been in San Jose’s Japantown for seven years.\u003c/figcaption>\u003c/figure>\n\u003cp>That hasn’t stopped Tran from running her speciality shop. If anything, being away from Silicon Valley makes her appreciate the region’s culture more than ever (she especially misses \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">the area’s vibrant Vietnamese food circuit\u003c/a>).\u003c/p>\n\u003cp>While juggling many roles and holding down her shop, Tran reflected on what she most enjoys about thrifting in the Valley.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: Tell us about your clothing shop, Classic Loot.\u003c/b>\u003c/p>\n\u003cp>\u003cb>TAM TRAN:\u003c/b> Classic Loot is a whole lot of everything. We’re an actual team now, but I started off doing pop-up events, table events, just selling vintage jewelry. That was back in 2012 when vintage wasn’t a major thing like it is today. I remember getting comments from people freaking out that everything [we sold] was used and worn. But now we’re a shop in Japantown, and we’ve been here for seven years. Everything blossomed from selling vintage clothing to handmade goods and art, to brand new stuff. It’s just a collection of everything I think is dope. And I’m honored to have a great team, girls who are a lot younger and know all the trends and cool things happening. They recommend what we should have, and then we get it. That’s the joy and freedom of having a small business.\u003c/p>\n\u003cfigure id=\"attachment_13964349\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964349\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-35-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stickers for sale at Classic Loot. The shop also features a double-stacked Japanese claw machine, where customers can try their luck at winning small items. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s your connection to Silicon Valley? You were born in San Francisco, but moved to San Jose at a young age. Where do you feel most rooted, especially in terms of fashion?\u003c/b>\u003c/p>\n\u003cp>I definitely spend more of my time in San Jose, but most of my adult life has also been inspired by San Francisco. I attended the San Francisco Art Institute for graphic design. Over there, people talk down on [Silicon Valley], like our fashion is lame, or whatever. During that period, there wasn’t social media quite yet, so people [outside of San Francisco] didn’t always get the same recognition. But because of social media nowadays, you can really be anywhere and be the dopest kid. It doesn’t matter where you’re from.\u003c/p>\n\u003cp>I moved back to San Jose after graduating. I became a graphic designer for a while, freelancing and doing commercial real estate. It was boring and terrible, but it paid the bills. Actually, I would never change it for anything, because what I learned professionally, I apply it to Classic Loot to this day. But I didn’t like to work for “the man.” So I went to a garage sale and started buying stuff and selling it on Instagram. I quit the day job I had and moved into my mom’s house and started hustling.\u003c/p>\n\u003cp>\u003cb>There’s a popular opinion that Silicon Valley is fashion-less. People always joke about tech workers wearing Patagonia vests. But what does local style look like to you as an insider?\u003c/b>\u003c/p>\n\u003cp>From an outsider’s perspective I can see how it might not seem like we have much going on down here besides the tech world. But we have the coolest kids who come here and we get to see how they express their fashion sense. Because of the markets and events we go to, we get to see that type of crowd all over this area. The scene is small and niche, but once you’re tapped in, you really appreciate everyone’s way of expressing themselves differently through clothes.\u003c/p>\n\u003cp>The girls who work [at Classic Loot], they’re really an inspiration for me and the customers. I’m in my late 30s, so to see the younger generation experimenting every day is really cool. They like to mix new trends with things that I wore when I was growing up, and I love that.\u003c/p>\n\u003cfigure id=\"attachment_13964343\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Classic Loot owner Tam Tran poses for a photo in her thrift store. Though born in San Francisco, she grew up in San Jose, and is proud to represent the region’s under appreciated fashion community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where do you find your inspiration in Silicon Valley as a thrifter?\u003c/b>\u003c/p>\n\u003cp>There are tons of Savers, Goodwills, those kinds of places around here. But those are hit or miss, because it’s thrifting. Japantown has a few small businesses with a local feel. There are lots of \u003ca href=\"https://www.kqed.org/arts/13952476/san-jose-japantown-photo-night-cukui\">young entrepreneurs here with cool brands\u003c/a>. JUBO. Cukui. Headliners. We all support each other. Another heavy hitter is \u003ca href=\"https://www.instagram.com/blackandbrownsj/\">Black and Brown\u003c/a>. They have a solid curation of secondhand stuff like us, but with a different feel.\u003c/p>\n\u003cp>Also, one of our friends at \u003ca href=\"https://www.instagram.com/popupsj/?hl=en\">Pop Up SJ\u003c/a> has vendors come to The Garden at the [Berryessa] Flea [Market]. That’s \u003ca href=\"https://midpenpost.org/2024/06/30/san-joses-pop-up-sj-brings-local-vintage-community-together/\">a cool vintage market event\u003c/a>. Everyone is dressed to impress there. It’s an event to go thrifting there, but it’s also like a runway for our little area. They have some of the coolest vintage clothing finds there, and it’s close to BART.\u003c/p>\n\u003cp>But don’t sleep on the [West Wind] \u003ca href=\"https://www.sanjose.org/attraction/west-wind-capitol-flea-market\">Flea Market on Capitol\u003c/a>. That’s the best one. It’s the smaller flea market, but it’s where the good stuff is for the cheapest prices. We do team bonding there and thrift together sometimes. It used to be our hidden place, but that changed after \u003ca href=\"https://www.tiktok.com/discover/capital-flea-market-san-jose\">TikTok blew up the spot\u003c/a>.\u003c/p>\n\u003cp>\u003cb>San Jose seems to have a thing for expensive brands, which you can find at Santana Row and Valley Fair — the high-end stuff that gives more of an L.A. vibe, as opposed to the grungy and artistic ethos often associated with San Francisco or Oakland. \u003c/b>\u003c/p>\n\u003cp>Yeah, I feel like San Jose gets the reputation of being more bougie. Personally, I don’t set foot into a mall anymore. I try to shop small and stay within the thrift shops here. And I don’t really support the big box stuff online either.\u003c/p>\n\u003cfigure id=\"attachment_13964351\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964351\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-1536x1005.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-41-KQED-1920x1257.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley is often associated with high-end products, especially because of Santana Row and Westfield Valley Fair. Though these Gucci sneakers are for sale at Classic Loot, the store mostly focuses on quirky trends and offers all sorts of finds. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You showcase your local vendors very prominently on \u003c/b>\u003ca href=\"https://www.classicloot.com/vendor\">\u003cb>your website\u003c/b>\u003c/a>\u003cb>. How do you go about finding these vendors and what are you generally looking for in a potential vendor or thrifter to work with?\u003c/b>\u003c/p>\n\u003cp>Sometimes we just go out to markets and see booths and tables whose aesthetic would match what we have going on. But most times they contact us through Instagram. We have a vendor manager and she goes out scouting for people, or people come in and apply to be with us. It’s not just thrifting, we deal with artists, too. I was in their shoes at one point, making stuff to sell at other stores. Starting off on eBay or Etsy, you sometimes just end up with 5 cents after paying all the fees. I wish I had a mentor back then. So we want to provide that opportunity, and to help newcomers with the process. A lot of artisans are great but don’t necessarily know the business side of things. Price points, materials, marketing. We like to exchange tips and help them get started.\u003c/p>\n\u003cfigure id=\"attachment_13964345\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240913_JAPANTOWNTHRIFTSHOP-18-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Classic Loot employee Annie Ng wears a heart choker. Shop owner Tam Tran is intentional about creating a work environment that is intergenerational, funky and “woman-powered.” \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Silicon Valley has a reputation as a male-dominated space. In contrast, your shop has a very strong, feminine energy. I’ve also heard you use the word “woman-powered.” What does that represent for you?\u003c/b>\u003c/p>\n\u003cp>When you walk into our store, it’s super pink and glittery. Guys come in and kind of creep back out and we’re like “no, no, no, we have a little section for you in the back, we promise!” We have a very small curation of masculine items, because girls can dress masculine, too. We’re predominantly all women here. It’s a sisterhood. It’s not just about the skills or the knowledge, but matching the energy. My whole thing as a designer is that you spend a lot of time at work, so if you fucking hate the people there, it won’t last. I really appreciate taking care of your people, because they will take care of you. Having this small business, we can create a space for each other. That’s the beauty of it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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