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"slug": "silicon-valley-fashion-isnt-just-patagonia-bros",
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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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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"slug": "fashion-outfits-photos-outside-lands-2024",
"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024",
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"headTitle": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024 | KQED",
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"content": "\u003cp>Music festivals like Outside Lands 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>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">See photos and read about the weekend’s performances here\u003c/a>\u003c/em>\u003c/strong>. \u003c/p>\n\u003cfigure id=\"attachment_13962488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962488\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bevon Brye wears a floral ‘Midsommar’-inspired outfit at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962507\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Teagan Paris (left) and Emily Izenman kiss as they wait for Chappell Roan to take the stage at Outside Lands on Sunday, Aug. 11, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962497\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ajani Purnell (center) and Lie Burgess dance in front of the Sutro Stage as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962517\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Lopez (center) dances to “Hot To Go!” as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962430\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vyvy Nguyen (center) and friends wear matching friendship bracelets at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Grace Stephenson, Robin Nguyen and Frank Ortiz watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brian Andrews and his daughter Chloe Andrews watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962423\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Addison Overbay (center) watches The Japanese House perform from the front row of the Lands End Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric and Rose Dosier cheer as they are pronounced husband and wife at Outside Lands on Friday, Aug. 9, 2024. The Dosiers are among many couples tying the knot at this year’s festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Shirley Shao,Paula Choi, and Paul Hanna strike a pose in their space inspired outfits at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Gary Payton II poses for a portrait at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962466\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Robinson crowd surfs as Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962496\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anabelle Martin and Christian Martin dance as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962415\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13962415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Sean Ryan dons a faux-fur coat he found on OfferUp to stay warm and stylish at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962498\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival goers gather in front of the Lands End Stage to watch Sabrina Carpenter headline Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962508\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Gaing (center) cheers from the front row of the Lands End Stage as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Brown (left) and Emily Koehler watch Chappell Roan perform at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexandro Cervantes waves their wig in the air as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Rose (left) and Mike Derb watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Walter (left) and Dre Jameson blow bubbles at the Soma Stage as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left) and Yvie Oddly pose for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen and Kyree Lewis (center) dance as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962533\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd in front of the Land End Stage clears as Sturgill Simpson set time approaches at Outside Lands on Sunday, Aug. 11, 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": "Fans showed up and showed out at Outside Lands in their freshest fits.",
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"title": "Photos: Fan Fashions and Hot Looks at Outside Lands 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music festivals like Outside Lands 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>\u003cstrong>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13962406/chappell-roan-outside-lands-2024-review-photos-sabrina-carpenter-sturgill-simpson\">See photos and read about the weekend’s performances here\u003c/a>\u003c/em>\u003c/strong>. \u003c/p>\n\u003cfigure id=\"attachment_13962488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962488\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_034-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bevon Brye wears a floral ‘Midsommar’-inspired outfit at Outside Lands on Saturday, Aug. 10, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962507\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_003-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Teagan Paris (left) and Emily Izenman kiss as they wait for Chappell Roan to take the stage at Outside Lands on Sunday, Aug. 11, 2024.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962497\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962497\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_043-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ajani Purnell (center) and Lie Burgess dance in front of the Sutro Stage as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962517\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Lopez (center) dances to “Hot To Go!” as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962469\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_015-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962430\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962430\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_020-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vyvy Nguyen (center) and friends wear matching friendship bracelets at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962424\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Grace Stephenson, Robin Nguyen and Frank Ortiz watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962420\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962420\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brian Andrews and his daughter Chloe Andrews watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962423\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962423\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_013-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Addison Overbay (center) watches The Japanese House perform from the front row of the Lands End Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eric and Rose Dosier cheer as they are pronounced husband and wife at Outside Lands on Friday, Aug. 9, 2024. The Dosiers are among many couples tying the knot at this year’s festival. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Shirley Shao,Paula Choi, and Paul Hanna strike a pose in their space inspired outfits at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Golden State Warriors’ Gary Payton II poses for a portrait at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962466\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962466\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_012-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jax poses for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Robinson crowd surfs as Schoolboy Q performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962496\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anabelle Martin and Christian Martin dance as Channel Tres performs at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962415\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13962415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_005-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Sean Ryan dons a faux-fur coat he found on OfferUp to stay warm and stylish at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962498\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of festival goers gather in front of the Lands End Stage to watch Sabrina Carpenter headline Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962508\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Gaing (center) cheers from the front row of the Lands End Stage as Chappell Roan performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_014A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Brown (left) and Emily Koehler watch Chappell Roan perform at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962525\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexandro Cervantes waves their wig in the air as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Allison Rose (left) and Mike Derb watch Shaboozey perform at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962523\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_019-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Walter (left) and Dre Jameson blow bubbles at the Soma Stage as Uncle Waffles performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962468\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13962468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz (left) and Yvie Oddly pose for a portrait backstage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962542\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_040-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen and Kyree Lewis (center) dance as Kaytranada performs at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13962533\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240811_OutsideLands__EG_029-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd in front of the Land End Stage clears as Sturgill Simpson set time approaches at Outside Lands on Sunday, Aug. 11, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "nail-tech-foodie-sf-ingleside-vietnamese-bay-area",
"title": "Why My Nail Tech Is My Favorite Bay Area Foodie",
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"headTitle": "Why My Nail Tech Is My Favorite Bay Area Foodie | KQED",
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"content": "\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]I[/dropcap] got my first set of acrylic nails at a Vietnamese-owned nail shop at the corner of Persia and Mission: They were long and slightly curved, painted a frosty royal blue and emblazoned with white airbrush flames more suited to a Monte Carlo than a manicure. In a world before touchscreen ruled our devices, I loved the clickety-clack of plastic on computer keys. It was like having tiny masterpieces on the tips of my fingers.\u003c/p>\n\u003cp>As a lover of hip-hop streetwear, it was a necessary luxury — $20 for a full set, back then — that dressed up the baggiest of sweatpants. But going to the shop was rough. You might run into a drunk from the liquor store next door or get “hood-checked” waiting outside for your BFF to arrive on the bus. The corner was active, and the inside of the shop was even more chaotic and fraught with conflict.\u003c/p>\n\u003cfigure id=\"attachment_13961773\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13961773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-800x800.jpg\" alt=\"A young women with intricately designed painted nails poses for a portrait with a young man.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On prom night, a young Rocky Rivera (right) shows off her intricately designed acrylic nails. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When there was a dispute about the cost or design, Asian service workers and their clientele sometimes lashed out at each other, and the language barrier rarely allowed the communication it takes to describe an intricate design. It was no wonder that friendships between nail techs and their customers rarely blossomed.\u003c/p>\n\u003cp>Nowadays, I have a standing three-week appointment at Linda’s Ocean Nails on Ocean and Ashton Avenue — one I haven’t broken since the start of the pandemic, when owner Christine “Chris” Phung reopened her Ingleside district shop for her regulars, and the two of us became friends. Our relationship solidified when she recreated my favorite car’s logo: an ’87 Buick Grand National orange-and-yellow arrow that mimicked the car’s legendary turbocharged V6 engine. Since then, we’ve collaborated on the gorgeous turquoise of a San Francisco garter snake and, \u003ca href=\"https://www.google.com/maps/contrib/112733447121314366844?hl=en-US&ved=1t:31294&ictx=111\">my personal favorite\u003c/a>, a matte military desert camouflage design that matched my Air Max 1s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Every new design becomes our new favorite until the next. And our love for San Francisco and shared background growing up here made it easy for us to get along.\u003c/p>\n\u003cp>“I gotta like you to hold your hand for two hours,” she always tells me. It’s not often that locals like me stop on Ocean Avenue, even though it’s a main thoroughfare linking the 280 freeway entrance in Mission Terrace to the beach. The Ingleside neighborhood’s meandering stoplights, double-parked grocery trucks and heavy traffic create a stop-and-go situation that requires patience, not to mention a deft lane change from time to time. It’s not a destination, though people like Chris want to change that.\u003c/p>\n\u003cfigure id=\"attachment_13957506\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED.jpg\" alt=\"A nail salon worker works on a client's nails.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chris Phung, a nail tech for over 20 years, works on Rocky Rivera’s nails at Linda’s Ocean Nails, her salon in San Francisco’s Ingleside neighborhood. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris is the ultimate foodie, too, often choosing her mom’s home cooking over the myriad Vietnamese restaurants in the city. When she does eat out, it’s for specialties she can only get at some particular spot, her taste honed from her years growing up in the Sunset district. Whether it’s the latest boba spot or a hot new dumpling shop, I trust her opinion on whether it’s worth all the hype.\u003c/p>\n\u003cp>On sunny Monday in May, the shop is closed for the day, and Chris is only doing my nails so we can hang out afterward at her favorite places on Ocean — a privilege I never thought I’d experience with my nail tech. I pull up a photo from my nail inspo board on IG and show it to her; she laughs and tells me her sister sent the same video just the day before. It’s proof to us that we are usually on the same wavelength when it comes to trendy design choices. We settle on a snake-inspired holographic design. She carefully applies a builder gel to the length of my existing natural nail, an upgrade from the acrylic tips we started out with when I first came to the shop.\u003c/p>\n\u003cfigure id=\"attachment_13957507\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED.jpg\" alt=\"Close-up of nails being finished with a black dots on a pink design.\" width=\"2000\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-1920x1300.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Every new design becomes our new favorite until the next,’ Rivera writes of her collaborative relationship with Phung. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After we finish our set, we grab a bite across the street at Little Sweet, a Hong Kong street food eatery (not affiliated with the boba chain of the same name) that wound up closing in June. Chris had become friends with chef-owner Zoe Mak as a nail client, and Mak brought Chris dishes to test out before the business officially opened this past February.\u003c/p>\n\u003cp>Born and raised in Hong Kong before immigrating to the U.S. when she was 12 years old, Mak started the restaurant together with her bestie and business partner Flora Lam, a former marketing specialist whose husband is also from Hong Kong. The name, like the shop’s homemade milk tea, is “not too sweet” — the ultimate compliment for an Asian dessert.\u003c/p>\n\u003cp>Much of the signage and menu was in Chinese, so Chris orders me her faves from Little Sweet’s menu of Hong Kong-style dishes: the curry fish balls, garlic spareribs over rice, sticky soy sauce wings and, for dessert, an interestingly chewy papaya-and-sweet-fungus dish with a texture akin to tripe. The food is somewhere between post-bar-hop late-night munchies and the kind of snacks you’d find at a boba shop. Chris orders a side of rice to pour the extra curry over — her favorite menu hack. And while Mak is in the back, Chris herself attends to customers walking in.\u003c/p>\n\u003cfigure id=\"attachment_13957508\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED.jpg\" alt=\"A plate of soy-glazed and a small dish of curry.\" width=\"2000\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-1920x1265.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Curry fishballs and special honey-flavored soy sauce wings at Little Sweet. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really important to love your neighbor and support them,” Mak says. She wanted a cafe in the Ingleside just like the ones she grew up going to in Hong Kong. “Maybe people know more Mission, but not Ingleside. We’re a little bit lost. We’re like a mystery place for people.”\u003c/p>\n\u003cp>In the end, all the local support still couldn’t save Little Sweet. From the very beginning, the shop suffered many setbacks, including an overnight burglary that delayed its opening. It wound up closing after just four months — news that devastates Chris when she hears it.\u003c/p>\n\u003cp>“I feel that she’s so young and works so hard, and she’s so passionate about the restaurant business, you know? I just wanted to see her succeed.”\u003c/p>\n\u003cfigure id=\"attachment_13961767\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed.jpg\" alt=\"Two Asian women with long hair pose for a portrait inside a restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Mak, left, chef of Little Sweet, and her business partner Flora Lam pose for a portrait inside Little Sweet. The Ingleside restaurant closed in June 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap] knew Chris was like family to me when once, during a power outage, she grabbed her tools and invited me to her house. She spread a plastic tarp and did my fill-in right there on her dining room table. “Only for you, Rocky!” she said.\u003c/p>\n\u003cp>Born in Vietnam, Chris left her birth country after the war because her father was of Chinese descent and was no longer welcome. They went from refugee camp to refugee camp, even living in the Philippines for a time, before finally coming to America.\u003c/p>\n\u003cp>She grew up in the Sunset district, attending Jefferson Elementary, Hoover Middle and Lincoln High before heading down the street to attend San Francisco State. “When we first came, everything was very difficult. We were on all sorts of [financial] assistance,” she recalls. Both of her parents worked at a sewing factory and were on welfare.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13959765,arts_13929836,arts_13961328']\u003c/span>Before she opened Linda’s Ocean Nails, Chris worked at another nail salon down the street for 10 years alongside her mom while also working part-time at Wells Fargo. After majoring in accounting at San Francisco State, she decided to open the nail salon instead of becoming an accountant so that her mom could work for her and get the treatment she deserved. “I came back here and I decided to run the place myself because, you know, with the language barrier, my mom’s English was not that well, and I see her struggling with the business she’s at,” she remembers. That was in 1998. Her younger sisters, Bella and Cindy, joined them later after both acquired their cosmetology licenses.\u003c/p>\n\u003cp>At the time of our meeting, her mom and dad were in Vietnam on holiday, visiting friends and family they once left behind. Though it took tremendous sacrifice for Chris to keep the salon running during the pandemic and through her sisters’ multiple maternity leaves — at one point she was the shop’s lone nail tech — she was able to raise her two kids with her husband, with one daughter graduating from Lowell High School and UC Davis, while purchasing a home in the adjacent Lakeview district.\u003c/p>\n\u003cfigure id=\"attachment_13957511\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED.jpg\" alt=\"Two women sit at a booth and sip tea inside a restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Phung and Rivera sit inside Pho Ha Tien, a Vietnamese restaurant in Ingleside. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After our first lunch stop, we cross back over Ocean to Pho Ha Tien, the Vietnamese eatery right next to Chris’s shop, to meet owner Steve Cheng. Though I’m already pretty full, I always have room for pho, and their chicken pho broth turns out to be perfectly clear and abundantly seasoned. But the standout dish is their special five-spice chicken thigh, which comes deboned and served with rice — an easy dinner that Chris orders for her family every time her mom is out of the country.\u003c/p>\n\u003cp>Cheng also is a City kid, graduating from Redding Elementary in the Tenderloin, Marina Middle School and a year before Chris at Lincoln High. Like Chris, he took over the family business to “semi-retire” his parents, who now come in whenever they want to help or just hang out. “You can tell them to stay home and they’re like, ‘What am I gonna do at home?’” Cheng laughs. With three kids of his own, and two in their twenties, I ask if he wants to pass the business on to them. “To be honest, I don’t want them anywhere near the restaurant business,” he responds, shaking his head.\u003c/p>\n\u003cp>“It’s tough,” Chris agrees. During the pandemic, her landlord didn’t give the nail salon much of a break in rent, saying that they had bills to pay, too. It took a long nine months for her to open back up. In the case of Cheng’s restaurant, it took two months. He owed back pay, and the landlord still added the yearly rental increase. Both businesses just barely survived their hardest year to date, and it’s still unclear whether things are getting better or worse. “It is what it is, you just gotta weather through it,” says Cheng.\u003c/p>\n\u003cfigure id=\"attachment_13957512\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED.jpg\" alt=\"A spread of Vietnamese dishes, include pho, shrimp over vermicelli noodles, and grilled chicken thighs.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, five-spice chicken, chicken pho and a charbroiled shrimp vermicelli bowl are some of Pho Ha Tien’s homey Vietnamese dishes. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though San Francisco allowed businesses to get out of long-term leases during the pandemic, it never gave shops like Linda’s Ocean Nails and Pho Ha Tien an incentive to stay. Once the CVS down across the street closed, Cheng noticed the decrease in foot traffic, and even more so when the Target down the block followed suit. “It’s kind of like a domino effect. You see these small businesses and it’s like, if these big franchises closed down, what chance do we have? Now every single block that you go to, there’s a minimum of three to five places shut down. You see, I can count it from here,” he says, gesturing toward the window.\u003c/p>\n\u003cp>Before, all three businesses were open late, and Chris would often unwind after work by ordering food and patronizing the nearby shops. There even used to be live music playing across the street. But now she takes her last client at 6:30 p.m. for safety reasons, wondering if Little Sweet’s late hours and frequent break-ins contributed to its closing. “We need mom-and-pop stores around here, especially on Ocean Ave.,” she says. But the neighborhood’s recent challenges need specialized attention from the city that goes beyond pandemic measures that many immigrant-run businesses did not take full advantage of anyway.\u003c/p>\n\u003cfigure id=\"attachment_13961768\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed.jpg\" alt=\"Two women eating noodles with a spread of Vietnamese food on the table in front of them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘I always have room for pho,’ Rivera says. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are some glimmers of hope on the block, however. Some places were able to pivot, like the cafe owned by two brothers that switched up to a pizza shop when business opened back up, and the jumpy house across the street that’s promoting a night market.\u003c/p>\n\u003cp>“A night market would be excellent. It would draw people into Ocean Ave. and let them know we exist,” Chris says. But the little things also help — like word-of-mouth from her clients and the string of lights that the city recently installed along the avenue over the holidays. “They put ’em up and it makes it feel so bright and safe and nice. Just being there all those years, those changes make a huge difference.” She wants Ingleside to be a neighborhood where residents mingle and get to know each other.\u003c/p>\n\u003cp>“Like the Sunset, I want to be able to sit outside, drink coffee, enjoy the weather — well maybe not enjoy the weather,” she laughs, knowing she has to be realistic.\u003c/p>\n\u003cp>Though I’m hardly around Ocean Ave. in the evenings, this day in Ingleside makes me wonder about the potential of this part of the City I love. I don’t live here or even work here, but every three weeks, I drive across the bridge and make it my destination, rain or shine. Whether it’s for a chromed-out set of reptilian talons or a delicious steaming bowl of pho, I know with Chris working her magic, I’m in good hands.\u003c/p>\n\u003cfigure id=\"attachment_13961774\" class=\"wp-caption alignnone\" style=\"max-width: 1911px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed.jpg\" alt=\"A woman poses for a portrait in front of a sign inside her nail salon that lists the prices for various services.\" width=\"1911\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed.jpg 1911w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-1536x1071.jpg 1536w\" sizes=\"(max-width: 1911px) 100vw, 1911px\">\u003cfigcaption class=\"wp-caption-text\">Phung poses for a portrait inside her family-ran nail salon in Ingleside. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera, \u003cem>in 2021\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"title": "My Favorite Bay Area Foodie Is a Vietnamese American Nail Tech | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> got my first set of acrylic nails at a Vietnamese-owned nail shop at the corner of Persia and Mission: They were long and slightly curved, painted a frosty royal blue and emblazoned with white airbrush flames more suited to a Monte Carlo than a manicure. In a world before touchscreen ruled our devices, I loved the clickety-clack of plastic on computer keys. It was like having tiny masterpieces on the tips of my fingers.\u003c/p>\n\u003cp>As a lover of hip-hop streetwear, it was a necessary luxury — $20 for a full set, back then — that dressed up the baggiest of sweatpants. But going to the shop was rough. You might run into a drunk from the liquor store next door or get “hood-checked” waiting outside for your BFF to arrive on the bus. The corner was active, and the inside of the shop was even more chaotic and fraught with conflict.\u003c/p>\n\u003cfigure id=\"attachment_13961773\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13961773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-800x800.jpg\" alt=\"A young women with intricately designed painted nails poses for a portrait with a young man.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Burton-Sr-Prom.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On prom night, a young Rocky Rivera (right) shows off her intricately designed acrylic nails. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When there was a dispute about the cost or design, Asian service workers and their clientele sometimes lashed out at each other, and the language barrier rarely allowed the communication it takes to describe an intricate design. It was no wonder that friendships between nail techs and their customers rarely blossomed.\u003c/p>\n\u003cp>Nowadays, I have a standing three-week appointment at Linda’s Ocean Nails on Ocean and Ashton Avenue — one I haven’t broken since the start of the pandemic, when owner Christine “Chris” Phung reopened her Ingleside district shop for her regulars, and the two of us became friends. Our relationship solidified when she recreated my favorite car’s logo: an ’87 Buick Grand National orange-and-yellow arrow that mimicked the car’s legendary turbocharged V6 engine. Since then, we’ve collaborated on the gorgeous turquoise of a San Francisco garter snake and, \u003ca href=\"https://www.google.com/maps/contrib/112733447121314366844?hl=en-US&ved=1t:31294&ictx=111\">my personal favorite\u003c/a>, a matte military desert camouflage design that matched my Air Max 1s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every new design becomes our new favorite until the next. And our love for San Francisco and shared background growing up here made it easy for us to get along.\u003c/p>\n\u003cp>“I gotta like you to hold your hand for two hours,” she always tells me. It’s not often that locals like me stop on Ocean Avenue, even though it’s a main thoroughfare linking the 280 freeway entrance in Mission Terrace to the beach. The Ingleside neighborhood’s meandering stoplights, double-parked grocery trucks and heavy traffic create a stop-and-go situation that requires patience, not to mention a deft lane change from time to time. It’s not a destination, though people like Chris want to change that.\u003c/p>\n\u003cfigure id=\"attachment_13957506\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED.jpg\" alt=\"A nail salon worker works on a client's nails.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-2-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chris Phung, a nail tech for over 20 years, works on Rocky Rivera’s nails at Linda’s Ocean Nails, her salon in San Francisco’s Ingleside neighborhood. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chris is the ultimate foodie, too, often choosing her mom’s home cooking over the myriad Vietnamese restaurants in the city. When she does eat out, it’s for specialties she can only get at some particular spot, her taste honed from her years growing up in the Sunset district. Whether it’s the latest boba spot or a hot new dumpling shop, I trust her opinion on whether it’s worth all the hype.\u003c/p>\n\u003cp>On sunny Monday in May, the shop is closed for the day, and Chris is only doing my nails so we can hang out afterward at her favorite places on Ocean — a privilege I never thought I’d experience with my nail tech. I pull up a photo from my nail inspo board on IG and show it to her; she laughs and tells me her sister sent the same video just the day before. It’s proof to us that we are usually on the same wavelength when it comes to trendy design choices. We settle on a snake-inspired holographic design. She carefully applies a builder gel to the length of my existing natural nail, an upgrade from the acrylic tips we started out with when I first came to the shop.\u003c/p>\n\u003cfigure id=\"attachment_13957507\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED.jpg\" alt=\"Close-up of nails being finished with a black dots on a pink design.\" width=\"2000\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-3-KQED-1920x1300.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Every new design becomes our new favorite until the next,’ Rivera writes of her collaborative relationship with Phung. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After we finish our set, we grab a bite across the street at Little Sweet, a Hong Kong street food eatery (not affiliated with the boba chain of the same name) that wound up closing in June. Chris had become friends with chef-owner Zoe Mak as a nail client, and Mak brought Chris dishes to test out before the business officially opened this past February.\u003c/p>\n\u003cp>Born and raised in Hong Kong before immigrating to the U.S. when she was 12 years old, Mak started the restaurant together with her bestie and business partner Flora Lam, a former marketing specialist whose husband is also from Hong Kong. The name, like the shop’s homemade milk tea, is “not too sweet” — the ultimate compliment for an Asian dessert.\u003c/p>\n\u003cp>Much of the signage and menu was in Chinese, so Chris orders me her faves from Little Sweet’s menu of Hong Kong-style dishes: the curry fish balls, garlic spareribs over rice, sticky soy sauce wings and, for dessert, an interestingly chewy papaya-and-sweet-fungus dish with a texture akin to tripe. The food is somewhere between post-bar-hop late-night munchies and the kind of snacks you’d find at a boba shop. Chris orders a side of rice to pour the extra curry over — her favorite menu hack. And while Mak is in the back, Chris herself attends to customers walking in.\u003c/p>\n\u003cfigure id=\"attachment_13957508\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED.jpg\" alt=\"A plate of soy-glazed and a small dish of curry.\" width=\"2000\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-12-KQED-1920x1265.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Curry fishballs and special honey-flavored soy sauce wings at Little Sweet. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think it’s really important to love your neighbor and support them,” Mak says. She wanted a cafe in the Ingleside just like the ones she grew up going to in Hong Kong. “Maybe people know more Mission, but not Ingleside. We’re a little bit lost. We’re like a mystery place for people.”\u003c/p>\n\u003cp>In the end, all the local support still couldn’t save Little Sweet. From the very beginning, the shop suffered many setbacks, including an overnight burglary that delayed its opening. It wound up closing after just four months — news that devastates Chris when she hears it.\u003c/p>\n\u003cp>“I feel that she’s so young and works so hard, and she’s so passionate about the restaurant business, you know? I just wanted to see her succeed.”\u003c/p>\n\u003cfigure id=\"attachment_13961767\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed.jpg\" alt=\"Two Asian women with long hair pose for a portrait inside a restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-18_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Mak, left, chef of Little Sweet, and her business partner Flora Lam pose for a portrait inside Little Sweet. The Ingleside restaurant closed in June 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> knew Chris was like family to me when once, during a power outage, she grabbed her tools and invited me to her house. She spread a plastic tarp and did my fill-in right there on her dining room table. “Only for you, Rocky!” she said.\u003c/p>\n\u003cp>Born in Vietnam, Chris left her birth country after the war because her father was of Chinese descent and was no longer welcome. They went from refugee camp to refugee camp, even living in the Philippines for a time, before finally coming to America.\u003c/p>\n\u003cp>She grew up in the Sunset district, attending Jefferson Elementary, Hoover Middle and Lincoln High before heading down the street to attend San Francisco State. “When we first came, everything was very difficult. We were on all sorts of [financial] assistance,” she recalls. Both of her parents worked at a sewing factory and were on welfare.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Before she opened Linda’s Ocean Nails, Chris worked at another nail salon down the street for 10 years alongside her mom while also working part-time at Wells Fargo. After majoring in accounting at San Francisco State, she decided to open the nail salon instead of becoming an accountant so that her mom could work for her and get the treatment she deserved. “I came back here and I decided to run the place myself because, you know, with the language barrier, my mom’s English was not that well, and I see her struggling with the business she’s at,” she remembers. That was in 1998. Her younger sisters, Bella and Cindy, joined them later after both acquired their cosmetology licenses.\u003c/p>\n\u003cp>At the time of our meeting, her mom and dad were in Vietnam on holiday, visiting friends and family they once left behind. Though it took tremendous sacrifice for Chris to keep the salon running during the pandemic and through her sisters’ multiple maternity leaves — at one point she was the shop’s lone nail tech — she was able to raise her two kids with her husband, with one daughter graduating from Lowell High School and UC Davis, while purchasing a home in the adjacent Lakeview district.\u003c/p>\n\u003cfigure id=\"attachment_13957511\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED.jpg\" alt=\"Two women sit at a booth and sip tea inside a restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-20-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Phung and Rivera sit inside Pho Ha Tien, a Vietnamese restaurant in Ingleside. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After our first lunch stop, we cross back over Ocean to Pho Ha Tien, the Vietnamese eatery right next to Chris’s shop, to meet owner Steve Cheng. Though I’m already pretty full, I always have room for pho, and their chicken pho broth turns out to be perfectly clear and abundantly seasoned. But the standout dish is their special five-spice chicken thigh, which comes deboned and served with rice — an easy dinner that Chris orders for her family every time her mom is out of the country.\u003c/p>\n\u003cp>Cheng also is a City kid, graduating from Redding Elementary in the Tenderloin, Marina Middle School and a year before Chris at Lincoln High. Like Chris, he took over the family business to “semi-retire” his parents, who now come in whenever they want to help or just hang out. “You can tell them to stay home and they’re like, ‘What am I gonna do at home?’” Cheng laughs. With three kids of his own, and two in their twenties, I ask if he wants to pass the business on to them. “To be honest, I don’t want them anywhere near the restaurant business,” he responds, shaking his head.\u003c/p>\n\u003cp>“It’s tough,” Chris agrees. During the pandemic, her landlord didn’t give the nail salon much of a break in rent, saying that they had bills to pay, too. It took a long nine months for her to open back up. In the case of Cheng’s restaurant, it took two months. He owed back pay, and the landlord still added the yearly rental increase. Both businesses just barely survived their hardest year to date, and it’s still unclear whether things are getting better or worse. “It is what it is, you just gotta weather through it,” says Cheng.\u003c/p>\n\u003cfigure id=\"attachment_13957512\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED.jpg\" alt=\"A spread of Vietnamese dishes, include pho, shrimp over vermicelli noodles, and grilled chicken thighs.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240506_NAILTECHFOODIE-22-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, five-spice chicken, chicken pho and a charbroiled shrimp vermicelli bowl are some of Pho Ha Tien’s homey Vietnamese dishes. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though San Francisco allowed businesses to get out of long-term leases during the pandemic, it never gave shops like Linda’s Ocean Nails and Pho Ha Tien an incentive to stay. Once the CVS down across the street closed, Cheng noticed the decrease in foot traffic, and even more so when the Target down the block followed suit. “It’s kind of like a domino effect. You see these small businesses and it’s like, if these big franchises closed down, what chance do we have? Now every single block that you go to, there’s a minimum of three to five places shut down. You see, I can count it from here,” he says, gesturing toward the window.\u003c/p>\n\u003cp>Before, all three businesses were open late, and Chris would often unwind after work by ordering food and patronizing the nearby shops. There even used to be live music playing across the street. But now she takes her last client at 6:30 p.m. for safety reasons, wondering if Little Sweet’s late hours and frequent break-ins contributed to its closing. “We need mom-and-pop stores around here, especially on Ocean Ave.,” she says. But the neighborhood’s recent challenges need specialized attention from the city that goes beyond pandemic measures that many immigrant-run businesses did not take full advantage of anyway.\u003c/p>\n\u003cfigure id=\"attachment_13961768\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed.jpg\" alt=\"Two women eating noodles with a spread of Vietnamese food on the table in front of them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘I always have room for pho,’ Rivera says. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are some glimmers of hope on the block, however. Some places were able to pivot, like the cafe owned by two brothers that switched up to a pizza shop when business opened back up, and the jumpy house across the street that’s promoting a night market.\u003c/p>\n\u003cp>“A night market would be excellent. It would draw people into Ocean Ave. and let them know we exist,” Chris says. But the little things also help — like word-of-mouth from her clients and the string of lights that the city recently installed along the avenue over the holidays. “They put ’em up and it makes it feel so bright and safe and nice. Just being there all those years, those changes make a huge difference.” She wants Ingleside to be a neighborhood where residents mingle and get to know each other.\u003c/p>\n\u003cp>“Like the Sunset, I want to be able to sit outside, drink coffee, enjoy the weather — well maybe not enjoy the weather,” she laughs, knowing she has to be realistic.\u003c/p>\n\u003cp>Though I’m hardly around Ocean Ave. in the evenings, this day in Ingleside makes me wonder about the potential of this part of the City I love. I don’t live here or even work here, but every three weeks, I drive across the bridge and make it my destination, rain or shine. Whether it’s for a chromed-out set of reptilian talons or a delicious steaming bowl of pho, I know with Chris working her magic, I’m in good hands.\u003c/p>\n\u003cfigure id=\"attachment_13961774\" class=\"wp-caption alignnone\" style=\"max-width: 1911px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed.jpg\" alt=\"A woman poses for a portrait in front of a sign inside her nail salon that lists the prices for various services.\" width=\"1911\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed.jpg 1911w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/20240506_NailTechFoodie-8_qed-1536x1071.jpg 1536w\" sizes=\"(max-width: 1911px) 100vw, 1911px\">\u003cfigcaption class=\"wp-caption-text\">Phung poses for a portrait inside her family-ran nail salon in Ingleside. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera, \u003cem>in 2021\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A South San Francisco Rapper Turned His Sneaker Collection Into an Album",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LLJdIK6PAbM\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XuSyl115XII\u003c/p>\n\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” [aside postid='arts_13961014']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\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/LLJdIK6PAbM'\n title='//www.youtube.com/embed/LLJdIK6PAbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\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/XuSyl115XII'\n title='//www.youtube.com/embed/XuSyl115XII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For seven years, from 2012–2019, \u003ca href=\"https://www.instagram.com/solespacelab\">SoleSpace\u003c/a> — sneaker shop by day, community activation hub by night — served Oakland’s most community-minded sneakerheads, art lovers and streetwear addicts. The Telegraph Avenue storefront hosted \u003ca href=\"https://www.kqed.org/arts/13840766/advice-from-a-former-graffiti-writer-to-oaklands-new-generation\">workshops and events\u003c/a> (like a \u003ca href=\"https://www.instagram.com/solespace.lab/reel/Btgz3ddn4th/\">Lauryn Hill in-store signing\u003c/a>) that drew crowds so large you’d have to peer through the window to see the action inside.\u003c/p>\n\u003cp>Sadly, after a series of unexpected health issues, frequent break-ins, rising rent and a declining retail environment, SoleSpace shuttered in 2019.\u003c/p>\n\u003cp>[aside postID='arts_13840766']Now, after a five-year hiatus, cofounder Jeff Perlstein and biotech fashion designer \u003ca href=\"https://www.instagram.com/olivia__cueva/\">Olivia Cueva\u003c/a> are resurrecting the footwear store as an eco-friendly sneaker workshop. At SoleSpace Lab, a pilot project this summer on 12th Street in downtown Oakland, green-leaning sneakerheads and designers alike will be able to take classes on upcycling, shoe repair and more. The shop will pivot away from commercial retail — no new sneakers will be for sale — and instead focus on rethinking fashion’s role in the global climate crisis through education and community engagement, with an emphasis on youth development, sustainability and equity.\u003c/p>\n\u003cp>“I didn’t think I would touch [sneakers] again,” Perlstein says. “But I reflected on the excitement and joy I’d seen around shoes. Part of this is making peace with my critiques of the sneaker industry’s impact on the planet and bringing sustainability to sneakers.”\u003c/p>\n\u003cp>“It’s not about retail and selling some corporate-approved design, but how can we better take care of products that already exist?” he continues. “Those sneakers you already own, how can we dust them off and repair them, make them spicier to match a certain fit? This is about harnessing people’s creativity in Oakland and seeing how we can change things and give them a new life.”\u003c/p>\n\u003cfigure id=\"attachment_13959116\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg\" alt=\"two shoe designers hold up their custom made pair of shoes\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Perlstein (left) spent a year taking sneaker upcycling workshops with professional cobblers, including Brooklyn’s Sung Me (right), who will visit SoulSpace Lab this summer to lead a workshop. \u003ccite>(Courtesy SoleSpace Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perlstein’s recommitment to sneakers began during the pandemic, when his teenage son, Joaquin, enrolled into the Oakland School of the Arts’ fashion design pathway. Eventually, Perlstein teamed up with a village of local makers, fashion experts and artisans, including Cueva — who has more than a decade’s worth of education and community work under her belt, most recently as the director of the \u003ca href=\"https://www.instagram.com/theglovercenter/\">David E. Glover Emerging Technology Center\u003c/a> in deep East Oakland — to form what would become the \u003ca href=\"https://www.instagram.com/oaklandstylelab/?hl=en\">Oakland Style Lab\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Cueva’s background in sustainable fashion technology (she attended \u003ca href=\"https://fablabbcn.org/education/in-house-programs/fabricademy-barcelona\">Fabricademy\u003c/a> in Barcelona), her work with Oakland Style Lab for the past four years has focused on mitigating fashion’s often wasteful practices. She’s found that by using bioplastics and biodegradable materials, such as hemp, cactus and pineapple “leathers,” goji berries and echinacea, it’s possible to design sneakers that are both eco-friendly and popular.\u003c/p>\n\u003cp>“I was basically looking at what’s going on in our culture, being heavily influenced by celebrities and Instagram to have new things all the time,” Cueva explains. “The problem is we’re dumping stuff out that doesn’t go away. These materials are bad for the earth. I wanted to create things that will go back into the earth and feed it, nurture it.”\u003c/p>\n\u003cp>[aside postID='arts_13954364']In July, Cueva will lead a four-day intensive class at SoleSpace Lab, teaching how to craft a pair of biodegradable Air Jordan 1s from scratch. Makers like Cueva and \u003ca href=\"https://www.instagram.com/thehoodcobbler/?hl=en\">The Hood Cobbler\u003c/a> — a popular East Oakland sneaker repair expert — will providing courses, seminars and mentorship to Oakland’s next generation of designers, creatives and problem-solvers.\u003c/p>\n\u003cp>Other guests will include \u003ca href=\"https://www.instagram.com/stepkicks510/?hl=en\">Stepkicks510\u003c/a>, the Buenos Aires-born DJ-turned-sneakerhead who personally gifted Argentina’s Lionel Messi a pair of custom-made Adidas Sambas; \u003ca href=\"https://www.instagram.com/cobbler_bushwick_co/\">Sung Roh\u003c/a>, a Korean master cobbler residing in Brooklyn who Perlstein took a class from last year; and a \u003ca href=\"https://www.sneakermuseumoakland.org/\">Sneaker Museum Oakland\u003c/a> pop-up.\u003c/p>\n\u003cfigure id=\"attachment_13959113\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg\" alt=\"a local designer showcases her biodegradable Nike sneaker\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Cueva of Oakland Style Lab showcases her customized biodegradable Jordan 1 sneakers. Cueva will run an intensive four-day sneaker design workshop in July. \u003ccite>(Courtesy Olivia Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, SoleSpace Lab is crowdsourcing funds for their pilot program. Offerings will include drop-in shoe cleaning and repair, a six-week externship for Oakland Unified School District students, and public events like the \u003ca href=\"https://www.instagram.com/p/C7aVpwztTr1/?img_index=1\">Converse and Birkenstock upcycling class\u003c/a>.\u003c/p>\n\u003cp>Perlstein, who gets visibly fired up about it all, is adamant about wanting to create the world’s greenest sneaker outlet with a commitment to exchanging communal knowledge.\u003c/p>\n\u003cp>“When I was a kid, sneaker shops were a place where old heads would hang and you could soak up game and history,” he says. “But sneaker shops and the industry have changed so much with online raffles … You get your shoe and leave, or it gets delivered to your home. So how can we make a space for people to come together with joy and sustainability as the focus?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SoleSpace Lab is \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">currently raising funds\u003c/a> for their summer pilot program. The grand opening takes place on Friday, June 14, at 302 12th St. (formerly Lucky Duck Bicycle Cafe) in Oakland. \u003cspan style=\"font-weight: 400\">Information\u003c/span>\u003cspan style=\"font-weight: 400\"> about tickets, classes and services available \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">here\u003c/a>.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For seven years, from 2012–2019, \u003ca href=\"https://www.instagram.com/solespacelab\">SoleSpace\u003c/a> — sneaker shop by day, community activation hub by night — served Oakland’s most community-minded sneakerheads, art lovers and streetwear addicts. The Telegraph Avenue storefront hosted \u003ca href=\"https://www.kqed.org/arts/13840766/advice-from-a-former-graffiti-writer-to-oaklands-new-generation\">workshops and events\u003c/a> (like a \u003ca href=\"https://www.instagram.com/solespace.lab/reel/Btgz3ddn4th/\">Lauryn Hill in-store signing\u003c/a>) that drew crowds so large you’d have to peer through the window to see the action inside.\u003c/p>\n\u003cp>Sadly, after a series of unexpected health issues, frequent break-ins, rising rent and a declining retail environment, SoleSpace shuttered in 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, after a five-year hiatus, cofounder Jeff Perlstein and biotech fashion designer \u003ca href=\"https://www.instagram.com/olivia__cueva/\">Olivia Cueva\u003c/a> are resurrecting the footwear store as an eco-friendly sneaker workshop. At SoleSpace Lab, a pilot project this summer on 12th Street in downtown Oakland, green-leaning sneakerheads and designers alike will be able to take classes on upcycling, shoe repair and more. The shop will pivot away from commercial retail — no new sneakers will be for sale — and instead focus on rethinking fashion’s role in the global climate crisis through education and community engagement, with an emphasis on youth development, sustainability and equity.\u003c/p>\n\u003cp>“I didn’t think I would touch [sneakers] again,” Perlstein says. “But I reflected on the excitement and joy I’d seen around shoes. Part of this is making peace with my critiques of the sneaker industry’s impact on the planet and bringing sustainability to sneakers.”\u003c/p>\n\u003cp>“It’s not about retail and selling some corporate-approved design, but how can we better take care of products that already exist?” he continues. “Those sneakers you already own, how can we dust them off and repair them, make them spicier to match a certain fit? This is about harnessing people’s creativity in Oakland and seeing how we can change things and give them a new life.”\u003c/p>\n\u003cfigure id=\"attachment_13959116\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg\" alt=\"two shoe designers hold up their custom made pair of shoes\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Perlstein (left) spent a year taking sneaker upcycling workshops with professional cobblers, including Brooklyn’s Sung Me (right), who will visit SoulSpace Lab this summer to lead a workshop. \u003ccite>(Courtesy SoleSpace Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perlstein’s recommitment to sneakers began during the pandemic, when his teenage son, Joaquin, enrolled into the Oakland School of the Arts’ fashion design pathway. Eventually, Perlstein teamed up with a village of local makers, fashion experts and artisans, including Cueva — who has more than a decade’s worth of education and community work under her belt, most recently as the director of the \u003ca href=\"https://www.instagram.com/theglovercenter/\">David E. Glover Emerging Technology Center\u003c/a> in deep East Oakland — to form what would become the \u003ca href=\"https://www.instagram.com/oaklandstylelab/?hl=en\">Oakland Style Lab\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Cueva’s background in sustainable fashion technology (she attended \u003ca href=\"https://fablabbcn.org/education/in-house-programs/fabricademy-barcelona\">Fabricademy\u003c/a> in Barcelona), her work with Oakland Style Lab for the past four years has focused on mitigating fashion’s often wasteful practices. She’s found that by using bioplastics and biodegradable materials, such as hemp, cactus and pineapple “leathers,” goji berries and echinacea, it’s possible to design sneakers that are both eco-friendly and popular.\u003c/p>\n\u003cp>“I was basically looking at what’s going on in our culture, being heavily influenced by celebrities and Instagram to have new things all the time,” Cueva explains. “The problem is we’re dumping stuff out that doesn’t go away. These materials are bad for the earth. I wanted to create things that will go back into the earth and feed it, nurture it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In July, Cueva will lead a four-day intensive class at SoleSpace Lab, teaching how to craft a pair of biodegradable Air Jordan 1s from scratch. Makers like Cueva and \u003ca href=\"https://www.instagram.com/thehoodcobbler/?hl=en\">The Hood Cobbler\u003c/a> — a popular East Oakland sneaker repair expert — will providing courses, seminars and mentorship to Oakland’s next generation of designers, creatives and problem-solvers.\u003c/p>\n\u003cp>Other guests will include \u003ca href=\"https://www.instagram.com/stepkicks510/?hl=en\">Stepkicks510\u003c/a>, the Buenos Aires-born DJ-turned-sneakerhead who personally gifted Argentina’s Lionel Messi a pair of custom-made Adidas Sambas; \u003ca href=\"https://www.instagram.com/cobbler_bushwick_co/\">Sung Roh\u003c/a>, a Korean master cobbler residing in Brooklyn who Perlstein took a class from last year; and a \u003ca href=\"https://www.sneakermuseumoakland.org/\">Sneaker Museum Oakland\u003c/a> pop-up.\u003c/p>\n\u003cfigure id=\"attachment_13959113\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg\" alt=\"a local designer showcases her biodegradable Nike sneaker\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Cueva of Oakland Style Lab showcases her customized biodegradable Jordan 1 sneakers. Cueva will run an intensive four-day sneaker design workshop in July. \u003ccite>(Courtesy Olivia Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, SoleSpace Lab is crowdsourcing funds for their pilot program. Offerings will include drop-in shoe cleaning and repair, a six-week externship for Oakland Unified School District students, and public events like the \u003ca href=\"https://www.instagram.com/p/C7aVpwztTr1/?img_index=1\">Converse and Birkenstock upcycling class\u003c/a>.\u003c/p>\n\u003cp>Perlstein, who gets visibly fired up about it all, is adamant about wanting to create the world’s greenest sneaker outlet with a commitment to exchanging communal knowledge.\u003c/p>\n\u003cp>“When I was a kid, sneaker shops were a place where old heads would hang and you could soak up game and history,” he says. “But sneaker shops and the industry have changed so much with online raffles … You get your shoe and leave, or it gets delivered to your home. So how can we make a space for people to come together with joy and sustainability as the focus?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SoleSpace Lab is \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">currently raising funds\u003c/a> for their summer pilot program. The grand opening takes place on Friday, June 14, at 302 12th St. (formerly Lucky Duck Bicycle Cafe) in Oakland. \u003cspan style=\"font-weight: 400\">Information\u003c/span>\u003cspan style=\"font-weight: 400\"> about tickets, classes and services available \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">here\u003c/a>.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-student-fashion-shows-2024",
"title": "10 Collections that Stunned at Bay Area Student Fashion Shows",
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"headTitle": "10 Collections that Stunned at Bay Area Student Fashion Shows | KQED",
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"content": "\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"auto, (max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n",
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"title": "10 Collections that Stunned at Bay Area Student Fashion Shows | KQED",
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"headline": "10 Collections that Stunned at Bay Area Student Fashion Shows",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wearable sails, breathtaking knitwear and oversized butterfly sleeves took to the runways during the \u003ca href=\"https://www.kqed.org/arts/13957350/san-francisco-art-school-fashion-shows-cca-sfsu-academy-of-art\">Bay Area’s unofficial fashion week\u003c/a> this month. Undergraduate and graduate students at California College of the Arts, San Francisco State University and the Academy of Art debuted their thesis collections to massive applause and, in the case of one particular collection, gasps. \u003c/p>\n\u003cp>Here are 10 collections from emerging and talented designers that had my jaw on the freakin’ floor — and renewed my excitement for \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">the Bay’s unique fashion scene\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958400\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-106-BL-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wears a mini dress by student Paulina Aguilar-Rosil during the Pulse Runway Show at SF State on May 13, 2024. The fashion exhibition showcased work by apparel design and merchandising majors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13958413\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-108-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Paulina Aguilar-Rosil’s plaid skirt at the SF State runway. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paulina Aguilar-Rosil’s plaid skirt and her mini dress with an exaggerated bow elicited an audible response from the runway crowd — and for good reason. The SF State student’s bold \u003cem>Pobrecita\u003c/em> collection brought Chicana aesthetics into conversation with Catholic school uniforms. The outcome was a collection that told a captivating story about Aguilar-Rosil’s Los Angeles upbringing, using specific references that made her designs stand out from other, more familiar takes on It Girl styles.\u003c/p>\n\u003cfigure id=\"attachment_13958439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13958439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/FashionShowTriptych7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hand-crocheted looks by Pamela Alcala at the California College of the Arts show on May 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the CCA show, Pamela Alcala’s hand-crocheted collection didn’t just reimagine knitwear — it built an entire world out of brushed wool. Alcala told KQED her looks were a “menswear take on [her] grandmother,” who lives in Cuernavaca, Mexico, taught Alcala how to sew and is obsessed with cats. Her designs were deliciously colorful and fresh, juxtaposing rich oranges and graying purples on playful silhouettes. Among them: nearly floor-length sleeves and cat-eared balaclavas.\u003c/p>\n\u003cfigure id=\"attachment_13958399\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg\" alt=\"model in bright pink dress with giant sleeves and gold detailing\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-28-1920x2690.jpg 1920w\" sizes=\"auto, (max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">Dress by Jagmehak Mandhan during the Academy of Art Fashion Show on May 16, 2024. This year’s theme was ‘Uncharted Territories.’ \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Jagmehak Mandhan’s pink look rounded the corner at the Academy of Art runway, attendees along the aisle actually gasped. Using fabrics she hand-selected from across North India and pieces of her mother’s 1989 wedding dress, Mandhan breathed exuberant life into traditional embroidery and regal silhouettes.\u003c/p>\n\u003cfigure id=\"attachment_13958416\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg\" alt=\"Woman in fuzzy pink dress surrounded by crowd\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_032-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model walks down the runway wearing Winny Qingzihua Guan’s knitwear during the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at CCA, Winny Qingzihua Guan’s knit dress, made from deconstructed N95 masks spun into yarn, was a favorite stand-alone garment. Guan’s textural details turned the dress into an ecosystem that rewarded close looking: here and there, horizontal strips of elastic from repurposed masks fluttered as the model strutted.\u003c/p>\n\u003cfigure id=\"attachment_13958411\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg\" alt=\"Three models in crop tops\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-128-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Looks inspired by Bratz from SF State student designer Arnel Noquez. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnel Noquez’s collection brought every Zillenial Bratz fantasy to life at the SF State show. But beyond that iconic reference, each look was grounded in sleek craftsmanship, especially this crop top and miniskirt set with charming fur details.\u003c/p>\n\u003cfigure id=\"attachment_13958440\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg\" alt=\"Model in draped head covering, layered skirts and boots\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13958440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240511_CCAFashionShow_EG_028-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A design by Yiwei Wang at the CCA student fashion show. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gooey center of CCA designer Yiwei Wang’s collection was a series of incredible trousers and one skirt that put texture, pattern and layering in refreshing concert with one another. Each look was completely unlike the other but united in a shared reimagining of bottoms.\u003c/p>\n\u003cfigure id=\"attachment_13958415\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg\" alt=\"Four models in wraps, beaded clothing and natural tones\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13958415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-SFStateRunway-120-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Keana Pukahi De Bruce’s looks from her ‘Vanua’ collection at SF State. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keana Pukahi De Bruce debuted a gorgeous collection at the SF State show titled \u003ci>Vanua\u003c/i>, meaning “home” or “land,” that celebrated the designer’s Fijian roots and brought traditional materials into ready-to-wear. Careful shell beading, coconut fibers and a patterned fabric made from mulberry bark called masi — usually used in ceremonies — were highlights of the collection. \u003c/p>\n\u003cfigure id=\"attachment_13958419\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg\" alt=\"Black man in vest and black pants with chains and rivets walks in front of seated crowd\" width=\"2560\" height=\"1833\" class=\"size-full wp-image-13958419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1020x730.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1536x1100.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-2048x1466.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-45-1920x1375.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A model wearing designs by Academy of Art student Haydée Quesedo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haydée Quesedo was another stunner at the Academy of Art show, melding punk rock with flamenco silhouettes. Quesedo’s designs delivered chains, full denim skirts and embroidered patches galore.\u003c/p>\n\u003cfigure id=\"attachment_13958418\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1680\" class=\"size-full wp-image-13958418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-35-1920x1260.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A tulle look by Johnny UN on model Jianyan Liu at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnny UN was a standout at the Academy of Art show with a striking and moody collection that surreptitiously commented on warfare, the designer told KQED. Graphic cut outs, ripped sleeves and oodles of billowing tulle dissolved into one another across UN’s looks, bringing forth feelings of disaster and detonation. The effect was foreboding and spectacular.\u003c/p>\n\u003cfigure id=\"attachment_13958441\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1706\" class=\"size-full wp-image-13958441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240516_AcademyofArtFashionShow-72-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, models Bob Copani, Saira Kaur and Averie Johnson pose with designer Joey Ledoux, center right, at the Academy of Art fashion show. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid many experiments in structure across the Academy of Art runway, Joey Ledoux’s were the most physically multi-dimensional. Inspired by time spent sailing with his grandfather as a kid, Ledoux transformed recreational outdoor materials — including collapsible tent poles and sails — into airy, wearable sculptures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching dozens of collections come down the runway, it’s clear that knitwear was the crown jewel this year. It materialized as fuzzy floor-length dresses and draping sleeves, and I was completely here for it. While many collections adhered to a more expected range of princess-y dresses and Sandy Liang-esque bows and ruching, the looks that had me gawking were the most specific: those that referenced a designer’s culture, childhood nostalgia or a grandmother who loves her granddaughter — and cats.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Unofficial Fashion Week Is About to Hit the Runway",
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"content": "\u003cp>In mid-April, young designers at three San Francisco schools were busy ripping out seams, running their purring sewing machines and organizing their models. They were in the final weeks before the city’s unofficial fashion week (May 9–16), and it was crunch time at San Francisco State University, California College of the Arts and Academy of Art University.\u003c/p>\n\u003cp>Andre Aberin, 23, was hunched over a pair of two-toned workwear pants in a room lined with half-clothed mannequins at SFSU on a Wednesday night. “My collection is based upon my love for video games and everything science fiction and also utilitarian wear,” he said.\u003c/p>\n\u003cp>Elsewhere in San Francisco, Pamela Alcala, 22, was sorting through a rack of colorful crocheted wool garments at CCA. “My collection is a menswear take on my grandmother,” she said. “It’s about the appreciation for hand-crafting and playfulness and oversized garments.”\u003c/p>\n\u003cp>At Academy of Art, Haydee Quesedo was fitting her model into a flamenco-inspired ruffled denim skirt as other designers and instructors bustled around the studio with sewing needles between their lips. While most of her fellow designers have five or six looks, Quesedo is aiming for 12.\u003c/p>\n\u003cp>“I work here in the studio from 8 a.m. to 8 p.m., eat, sleep and come back,” she laughed. Quesado’s flamenco denim is just one of the looks that will debut on three different runways from fashion students at CCA, SFSU and Academy of Art University, which have a mixture of undergraduate and graduate design programs showcasing their work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Designers like Academy of Art student Jagmehak have been at their studios all day, every day for weeks now. On a recent Thursday afternoon, Jagmehak was sorting through folds of deep fuchsia silk that she’d sourced from India and custom dyed to her desired hue.\u003c/p>\n\u003cp>The runway shows mark the culmination of the designers’ studies and offer audiences (and fashion lovers) a glimpse at what the next generation has in store for our closets. Based on their mood boards and mannequins, we can expect playful color combos, deconstructed menswear and immaculate craftsmanship.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The San Francisco State University fashion show, PULSE Runway 2024, takes place May 9, 6–8:30 p.m. at 1 N State Dr., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/pulse-runway-2024-tickets-859110732327\">SFSU event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The California College of the Arts fashion show takes place May 10, 2024, 5–8 p.m. at 1111 8th St., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/spring-2024-architecture-and-design-end-of-year-thesis-show-tickets-873511114257?aff=oddtdtcreator\">CCA event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Academy of Art University fashion show takes place May 16, 2025 at 3 p.m. at 1849 Washington St., San Francisco. Find tickets to the \u003ca href=\"https://www.academyart.edu/2024-graduation-fashion-show-event/\">Academy of Art event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stay tuned for reviews of the three runway shows as a part of \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">Fit Check\u003c/a>, a series about style and personal expression in the Bay Area.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In mid-April, young designers at three San Francisco schools were busy ripping out seams, running their purring sewing machines and organizing their models. They were in the final weeks before the city’s unofficial fashion week (May 9–16), and it was crunch time at San Francisco State University, California College of the Arts and Academy of Art University.\u003c/p>\n\u003cp>Andre Aberin, 23, was hunched over a pair of two-toned workwear pants in a room lined with half-clothed mannequins at SFSU on a Wednesday night. “My collection is based upon my love for video games and everything science fiction and also utilitarian wear,” he said.\u003c/p>\n\u003cp>Elsewhere in San Francisco, Pamela Alcala, 22, was sorting through a rack of colorful crocheted wool garments at CCA. “My collection is a menswear take on my grandmother,” she said. “It’s about the appreciation for hand-crafting and playfulness and oversized garments.”\u003c/p>\n\u003cp>At Academy of Art, Haydee Quesedo was fitting her model into a flamenco-inspired ruffled denim skirt as other designers and instructors bustled around the studio with sewing needles between their lips. While most of her fellow designers have five or six looks, Quesedo is aiming for 12.\u003c/p>\n\u003cp>“I work here in the studio from 8 a.m. to 8 p.m., eat, sleep and come back,” she laughed. Quesado’s flamenco denim is just one of the looks that will debut on three different runways from fashion students at CCA, SFSU and Academy of Art University, which have a mixture of undergraduate and graduate design programs showcasing their work. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Designers like Academy of Art student Jagmehak have been at their studios all day, every day for weeks now. On a recent Thursday afternoon, Jagmehak was sorting through folds of deep fuchsia silk that she’d sourced from India and custom dyed to her desired hue.\u003c/p>\n\u003cp>The runway shows mark the culmination of the designers’ studies and offer audiences (and fashion lovers) a glimpse at what the next generation has in store for our closets. Based on their mood boards and mannequins, we can expect playful color combos, deconstructed menswear and immaculate craftsmanship.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>The San Francisco State University fashion show, PULSE Runway 2024, takes place May 9, 6–8:30 p.m. at 1 N State Dr., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/pulse-runway-2024-tickets-859110732327\">SFSU event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The California College of the Arts fashion show takes place May 10, 2024, 5–8 p.m. at 1111 8th St., San Francisco. Find tickets to the \u003ca href=\"https://www.eventbrite.com/e/spring-2024-architecture-and-design-end-of-year-thesis-show-tickets-873511114257?aff=oddtdtcreator\">CCA event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Academy of Art University fashion show takes place May 16, 2025 at 3 p.m. at 1849 Washington St., San Francisco. Find tickets to the \u003ca href=\"https://www.academyart.edu/2024-graduation-fashion-show-event/\">Academy of Art event here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stay tuned for reviews of the three runway shows as a part of \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">Fit Check\u003c/a>, a series about style and personal expression in the Bay Area.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality",
"headTitle": "On Katie Winnen’s TikTok, Plus-Size Fashion Is About Personality | KQED",
"content": "\u003cp>On \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok, Katie Winnen\u003c/a>’s 275,000-plus followers look to her for budget-friendly tips on how to accessorize a first-date outfit or find jeans for different plus-size body types.\u003c/p>\n\u003cp>Fittingly, her name lends itself to a positive affirmation that is her social handle (\u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">@katieiswinnen\u003c/a>). Originally from the Peninsula, the Oakland-based influencer describes her out-loud style as grandma glam — think chunky sweaters, bold graphic tees and maximalist accessories interspersed with timeless basics. With her big smile and pink hair, she exudes a genuine confidence, and rejects toxic notions from her upbringing in the 1990s and 2000s, when thinness was considered the “ultimate accessory.”\u003c/p>\n\u003cfigure id=\"attachment_13957005\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Bold graphic tees and accessories are a staple of Katie Winnen’s style. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Winnen, personal style reinforces a sense of self. “[Fashion] feels like such a fun way to explore how I show up in the world, and how we can express who we are to other people,” she tells KQED. “Whether we want to communicate things like our creativity or profession, there are so many things you can showcase through your style and what you wear.”\u003c/p>\n\u003cp>Though the \u003ca href=\"https://www.kqed.org/forum/2010101891829/evette-dionne-takes-on-fatphobia-in-weightless\">body positivity and body neutrality\u003c/a> movements have made strides in recent years, size-inclusive fashion still has a long way to go when it comes to availability, fit and style. Winnen says a lot of advice for plus-size women is outdated, focusing on hiding body parts rather than highlighting personality. That’s why, beyond the basic tips like seasonal guides or finding the right concert look, Winnen sees an overall need for a supportive environment for plus-sized people.\u003c/p>\n\u003ch2>Self-confidence first, clothes second\u003c/h2>\n\u003cp>Winnen started her fashion journey by looking inward — and not just into her closet. Her career rise has mirrored her quest to wholeheartedly accept herself. It all stems from a mental reframe Winnen puts this way: “Maybe my body isn’t the problem. Maybe people who have a problem with my body are a problem.”\u003c/p>\n\u003cfigure id=\"attachment_13957003\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg\" alt=\"A stylist with pink hair lifts up a lime green top from her clothing rack.\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says there’s a need for more plus-size fashion content. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to becoming a full-time TikTok creator in 2023, Winnen had been contributing to the platform for three years with some momentum. Her 30-day outfit challenge racked up 1.4 million views on one video alone, and accelerated everything. When she lost her day job upon moving to the East Bay, she made a gamble to turn plus-size content into her career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I never had any intention to be an influencer. … I don’t like to be the center of attention,” says Winnen, laughing. “Having a lot of focus on me has always felt a little like — I’ve had to adjust to that. It was never something that I sought out, so when it started to happen, I was definitely surprised that people were connecting with me specifically.”\u003c/p>\n\u003cp>She wasn’t surprised, however, that they related to her message of self-acceptance and -expression. Plus-sized women are an underserved group. And though they make up \u003ca href=\"https://www.cnn.com/style/plus-size-fashion-brands-trends-body-positivity/index.html\">nearly 70% of U.S. women\u003c/a>, most mainstream brands fail to cater to them.\u003c/p>\n\u003cp>Winnen loves the creativity and joy in fashion, and for that reason she works to make fashion accessible to an audience dealing with \u003ca href=\"https://www.theguardian.com/commentisfree/2024/jan/12/prejudices-fatphobia-society-size-bodies\">fatphobic social stigma\u003c/a>. “Even if I get to the best place possible [with my body image], I’m still going to exist in a fatphobic society that’s going to make living in a larger body really hard,” says Winnen. “Understanding that was a reality helped me get further in having a positive relationship with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13957004\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg\" alt=\"\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen decided to become a full-time content creator and stylist in 2023. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her videos, she spotlights small businesses that serve the plus-sized community, plays with fun concepts like astrology-based fashion and connects with clients one-on-one as a personal stylist.\u003c/p>\n\u003cp>Her savvy comes from experience in different levels of the fashion industry: She worked retail, got merchandising and design degrees from the Fashion Institute of Technology in New York and San Francisco State University, and worked for a plus-size ecommerce company before it folded.\u003c/p>\n\u003cp>“I don’t think people are just born with the ability to be stylish,” says Winnen. “It might come easier to some people, but I think for the most part, it’s just something you put time and energy into.”\u003c/p>\n\u003ch2>Breaking through size stigmas\u003c/h2>\n\u003cp>On social media, Winnen has found a positive feedback loop of encouragement and knowledge sharing. She credits other creators in the plus-sized community for breaking down concepts such as fat liberation and fat bias in straightforward ways. Local collective \u003ca href=\"https://www.instagram.com/fat_brunch/\">Fat Brunch\u003c/a> and creator \u003ca href=\"https://www.instagram.com/fiercefatfemme/?hl=en\">Fierce Fat Femme\u003c/a> come to mind when Winnen shouts out fellow Bay Area creators that take up space proudly.\u003c/p>\n\u003cfigure id=\"attachment_13957007\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says she’s found a supportive community of plus-size creators online. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She learned from other creators how to defend oneself from fatphobic comments (especially as a non-confrontational person). In turn, she’s offered resources on navigating dismissive or callous medical visits, to which she got an overwhelming response of people realizing they are not alone.\u003c/p>\n\u003cp>Winnen’s work has national and even global reach. A sizable portion of her audience is in Texas. When she worked remotely for a company based in Armenia, she was shocked to find out a colleague in Yerevan was already a fan.\u003c/p>\n\u003cp>“There’s a lot the industry has to shift and change,” says Winnen. “I feel hopeful we can get there, but in the meantime it’s really challenging.”\u003c/p>\n\u003cp>Winnen acknowledges that plus-size fashion intersects with evolving conversations around mental health, disability and accessibility. “I think in general, when we talk about inclusivity, size is usually left out,” says Winnen. “I think being fatphobic is very accepted still in a majority of places, even in progressive, inclusive places like the Bay Area.”\u003c/p>\n\u003cp>Her videos are her way of working towards a more accepting world. And when it comes to fashion, she reminds us that a little compliment goes a long way.\u003c/p>\n\u003cp>“If you see a plus-sized person in a great outfit, just know that they had to work so hard to make that happen,” she says. “I’m always blown away by the creativity and ability that these other creators have to make things work when you’re not given very much in the first place.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Katie Winnen is on \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok\u003c/a> and \u003ca href=\"https://www.instagram.com/katieiswinnen/\">Instagram.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok, Katie Winnen\u003c/a>’s 275,000-plus followers look to her for budget-friendly tips on how to accessorize a first-date outfit or find jeans for different plus-size body types.\u003c/p>\n\u003cp>Fittingly, her name lends itself to a positive affirmation that is her social handle (\u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">@katieiswinnen\u003c/a>). Originally from the Peninsula, the Oakland-based influencer describes her out-loud style as grandma glam — think chunky sweaters, bold graphic tees and maximalist accessories interspersed with timeless basics. With her big smile and pink hair, she exudes a genuine confidence, and rejects toxic notions from her upbringing in the 1990s and 2000s, when thinness was considered the “ultimate accessory.”\u003c/p>\n\u003cfigure id=\"attachment_13957005\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2754-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Bold graphic tees and accessories are a staple of Katie Winnen’s style. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Winnen, personal style reinforces a sense of self. “[Fashion] feels like such a fun way to explore how I show up in the world, and how we can express who we are to other people,” she tells KQED. “Whether we want to communicate things like our creativity or profession, there are so many things you can showcase through your style and what you wear.”\u003c/p>\n\u003cp>Though the \u003ca href=\"https://www.kqed.org/forum/2010101891829/evette-dionne-takes-on-fatphobia-in-weightless\">body positivity and body neutrality\u003c/a> movements have made strides in recent years, size-inclusive fashion still has a long way to go when it comes to availability, fit and style. Winnen says a lot of advice for plus-size women is outdated, focusing on hiding body parts rather than highlighting personality. That’s why, beyond the basic tips like seasonal guides or finding the right concert look, Winnen sees an overall need for a supportive environment for plus-sized people.\u003c/p>\n\u003ch2>Self-confidence first, clothes second\u003c/h2>\n\u003cp>Winnen started her fashion journey by looking inward — and not just into her closet. Her career rise has mirrored her quest to wholeheartedly accept herself. It all stems from a mental reframe Winnen puts this way: “Maybe my body isn’t the problem. Maybe people who have a problem with my body are a problem.”\u003c/p>\n\u003cfigure id=\"attachment_13957003\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg\" alt=\"A stylist with pink hair lifts up a lime green top from her clothing rack.\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2725-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says there’s a need for more plus-size fashion content. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to becoming a full-time TikTok creator in 2023, Winnen had been contributing to the platform for three years with some momentum. Her 30-day outfit challenge racked up 1.4 million views on one video alone, and accelerated everything. When she lost her day job upon moving to the East Bay, she made a gamble to turn plus-size content into her career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I never had any intention to be an influencer. … I don’t like to be the center of attention,” says Winnen, laughing. “Having a lot of focus on me has always felt a little like — I’ve had to adjust to that. It was never something that I sought out, so when it started to happen, I was definitely surprised that people were connecting with me specifically.”\u003c/p>\n\u003cp>She wasn’t surprised, however, that they related to her message of self-acceptance and -expression. Plus-sized women are an underserved group. And though they make up \u003ca href=\"https://www.cnn.com/style/plus-size-fashion-brands-trends-body-positivity/index.html\">nearly 70% of U.S. women\u003c/a>, most mainstream brands fail to cater to them.\u003c/p>\n\u003cp>Winnen loves the creativity and joy in fashion, and for that reason she works to make fashion accessible to an audience dealing with \u003ca href=\"https://www.theguardian.com/commentisfree/2024/jan/12/prejudices-fatphobia-society-size-bodies\">fatphobic social stigma\u003c/a>. “Even if I get to the best place possible [with my body image], I’m still going to exist in a fatphobic society that’s going to make living in a larger body really hard,” says Winnen. “Understanding that was a reality helped me get further in having a positive relationship with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13957004\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg\" alt=\"\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2742-1536x1024.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen decided to become a full-time content creator and stylist in 2023. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her videos, she spotlights small businesses that serve the plus-sized community, plays with fun concepts like astrology-based fashion and connects with clients one-on-one as a personal stylist.\u003c/p>\n\u003cp>Her savvy comes from experience in different levels of the fashion industry: She worked retail, got merchandising and design degrees from the Fashion Institute of Technology in New York and San Francisco State University, and worked for a plus-size ecommerce company before it folded.\u003c/p>\n\u003cp>“I don’t think people are just born with the ability to be stylish,” says Winnen. “It might come easier to some people, but I think for the most part, it’s just something you put time and energy into.”\u003c/p>\n\u003ch2>Breaking through size stigmas\u003c/h2>\n\u003cp>On social media, Winnen has found a positive feedback loop of encouragement and knowledge sharing. She credits other creators in the plus-sized community for breaking down concepts such as fat liberation and fat bias in straightforward ways. Local collective \u003ca href=\"https://www.instagram.com/fat_brunch/\">Fat Brunch\u003c/a> and creator \u003ca href=\"https://www.instagram.com/fiercefatfemme/?hl=en\">Fierce Fat Femme\u003c/a> come to mind when Winnen shouts out fellow Bay Area creators that take up space proudly.\u003c/p>\n\u003cfigure id=\"attachment_13957007\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957007\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg\" alt=\"\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771.jpg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/F93A2771-1024x1536.jpg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Katie Winnen says she’s found a supportive community of plus-size creators online. \u003ccite>(DA Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She learned from other creators how to defend oneself from fatphobic comments (especially as a non-confrontational person). In turn, she’s offered resources on navigating dismissive or callous medical visits, to which she got an overwhelming response of people realizing they are not alone.\u003c/p>\n\u003cp>Winnen’s work has national and even global reach. A sizable portion of her audience is in Texas. When she worked remotely for a company based in Armenia, she was shocked to find out a colleague in Yerevan was already a fan.\u003c/p>\n\u003cp>“There’s a lot the industry has to shift and change,” says Winnen. “I feel hopeful we can get there, but in the meantime it’s really challenging.”\u003c/p>\n\u003cp>Winnen acknowledges that plus-size fashion intersects with evolving conversations around mental health, disability and accessibility. “I think in general, when we talk about inclusivity, size is usually left out,” says Winnen. “I think being fatphobic is very accepted still in a majority of places, even in progressive, inclusive places like the Bay Area.”\u003c/p>\n\u003cp>Her videos are her way of working towards a more accepting world. And when it comes to fashion, she reminds us that a little compliment goes a long way.\u003c/p>\n\u003cp>“If you see a plus-sized person in a great outfit, just know that they had to work so hard to make that happen,” she says. “I’m always blown away by the creativity and ability that these other creators have to make things work when you’re not given very much in the first place.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Katie Winnen is on \u003ca href=\"https://www.tiktok.com/@katieiswinnen?lang=en\">TikTok\u003c/a> and \u003ca href=\"https://www.instagram.com/katieiswinnen/\">Instagram.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. [aside postid='arts_13952566']\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. [aside postid='arts_13913584']\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\n\u003cp>https://www.instagram.com/p/CuHppZLRufC/?hl=en&img_index=1\u003c/p>\n\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” [aside postid='arts_13951605']\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Gericault De La Rose — a.k.a. Bimbo Moschino — is glowing on a warm afternoon in April, twin butterflies fluttering around her in the garden behind her apartment. She’s in head-to-toe pastels, poised and Sailor Moon chic. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she first moved to Oakland from Chicago in 2021 to get her MFA at UC Berkeley, De La Rose didn’t feel this sure of herself. She didn’t have a community.\u003c/p>\n\u003cp>“I had to start over,” she says. “I literally cried every weekend.”\u003c/p>\n\u003cp>Unbeknownst to her, the revival of a queer subculture was just starting to pop off in her neighborhood. It would redefine her life in the Bay — and it was just a short walk from her front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One fall morning, while boredom-scrolling on Instagram in bed, she stopped on a flyer for a ballroom event at Soundwave Studios in Oakland.\u003c/p>\n\u003cp>“I was like, ‘Oh my god, Oakland has a ballroom scene?’” she remembers. “I went over by myself later that week.”\u003c/p>\n\u003cfigure id=\"attachment_13955603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s ballroom scene was where Gericault De La Rose found community. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was dark, and the music was pumping at full volume. De La Rose was wearing black tights, black short shorts, a tank top and Adidas Superstars. Her hair was long at the time, and she felt confident and elegant. The night began with the traditional “Legends, Statements, Stars” acknowledgements, which honor all the local ballroom icons who have paved the way.\u003c/p>\n\u003cp>Back then, even after years of being in the Chicago ballroom scene, De La Rose didn’t really know how to vogue. But she decided to join in anyway. That night, she got 10s from the judges for the first time in her life. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Rose, who belongs to The Kiki House of Moschino, is part of a ballroom legacy that began in the ’70s and ’80s in New York City. Per tradition, De La Rose and her siblings compete against other houses in runway, vogue and other categories. Though ballroom has gotten mainstream attention and \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">counts Beyoncé among its fans\u003c/a>, it remains a vital way for queer and gender-nonconforming people of color come together as \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">chosen families\u003c/a> in the face of societal rejection and other forms of adversity.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ballroom was the first home De La Rose found in the Bay Area. It’s also been a space where she’s been able to explore her relationship with style as a trans woman of color.\u003c/p>\n\u003cp>“It was something that I really craved,” she said. “Because yeah, there’s a lot of queer spaces in Oakland, but a lot of them are white.”\u003c/p>\n\u003cfigure id=\"attachment_13956812\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-08_qut-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Gericault De La Rose appreciates personal style with a point of view. \u003ccite>(Martin Do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From normcore to Pokémon trainer\u003c/h2>\n\u003cp>De La Rose started medically transitioning when she was 25 years old. She says that before then, she didn’t really know what she was doing when it came to clothes.\u003c/p>\n\u003cp>“It was 100% giving Kohl’s,” she laughs. “Khakis, polo shirts — it was very normcore.”\u003c/p>\n\u003cp>But then something clicked, and an aesthetic fell into place.\u003c/p>\n\u003cp>“I was like, OK: pastels, pink,” she says. “I kind of just want to look like a Pokémon trainer, not gonna lie. Also Jules from \u003cem>Euphoria\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13956810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pastel colors are part of Gericault De La Rose’s signature look. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De La Rose’s quintessential silhouette is a short pleated skirt, knee-high socks, chunky sneakers and legs for days. Her proclivity for the whimsically feminine shows up in her work as a visual artist, too. For her MFA thesis show at the Berkeley Art Museum and Pacific Film Archive, De La Rose made a \u003ca href=\"https://www.instagram.com/p/CvASvGbLDhw/?hl=en&img_index=1\">chandelier\u003c/a> out of draped pastel pink, purple, yellow and blue fabric meant to “capture the splendor of transformation.”\u003c/p>\n\u003cp>“For me, being trans was not wanting to be a secret anymore,” she says. “I want to be vibrant. I want to be seen.”\u003c/p>\n\u003cp>And when De La Rose is wearing an outfit that does all that, she feels “like the baddest bitch in the world.”\u003c/p>\n\u003cp>Still, clothes shopping as a trans woman comes with its challenges.\u003c/p>\n\u003cp>“Not all clothing brands are tailored to six-foot-tall women,” she explains. “It’s really hard for me to find pants that have a feminine cut, that accentuate the hips more.”\u003c/p>\n\u003cp>So De La Rose does what queer and trans folks have always done: alter, transform and experiment, needle and thread in hand.\u003c/p>\n\u003cfigure id=\"attachment_13955720\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955720\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240408-GERICAULT-MD-11-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">For Gericault De La Rose, it’s all about unique details like her safety pin ‘baby’ earring. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The category is: best dressed\u003c/h2>\n\u003cp>“The best dressed people are in the ballroom scene, no shade,” De La Rose says. “Let’s say I go to the Castro, and I go to these gay clubs. It’s giving jeans, maybe a white T-shirt and maybe a black leather jacket, copy-pasted onto everyone.”\u003c/p>\n\u003cp>De La Rose doesn’t just mean in the Bay Area: Ballroom scenes are part of LGBTQ+ communities all over the world, with some of the most influential ones in Paris and New York.\u003c/p>\n\u003cp>So what makes ballroom folks more stylish?\u003c/p>\n\u003cp>“They know their brands, and they also know how to experiment with their silhouette,” she explains. “The spectrum of masculinity to femininity is all explored.”\u003c/p>\n\u003cp>In a world of binary clothes, ballroom folks have dreamt up looks that aren’t just new and custom. They can also compete.\u003c/p>\n\u003cp>“Everything is intentional,” she says. “Because the minute you step into ballroom, the competition starts.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innovation at a high level is what sets ballroom apart. And you know it when you see it, says De La Rose. To get her point across, she pulls up a \u003ca href=\"https://www.instagram.com/p/Cs1SLGVRkoX/?hl=en&img_index=2\">photo of her ballroom mentor, Soho,\u003c/a> after a recent Oakland to All ball.\u003c/p>\n\u003cp>He’s in a look to turns heads: long, lime green leather gloves, a white tee printed with a pointy-eared Doberman, a midi cargo skirt and a crocheted, lime green balaclava with dozens of knitted tentacles cascading from chin to chest with the caption, “Urban Streetwear w/ a touch of Futurama Cunt 👽🛸.”\u003c/p>\n\u003cp>The outfit is stunning, daring and tells an otherworldly story. It’s a feast in texture alone. It’s the anti-copy paste. And it’s exactly what De La Rose is talking about.\u003c/p>\n\u003cp>De La Rose pulls up another photo, this one of her ballroom brother, Clover, in a look that masters layering and proportions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Creativity,” she says, zooming in. “Like, hello! You see what I mean?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-bay-area-hip-hop-made-cozy-clothes-cool",
"title": "How Bay Area Hip-Hop Made Cozy Clothes Cool",
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"content": "\u003cfigure id=\"attachment_13953402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg\" alt=\"Person in white beanie, plaid jacket, dark shirt, cross-body bag opens jacket and smiles\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler poses for a photo in Oakland on Feb. 29, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Noah David Coogler — stage name \u003ca href=\"https://www.instagram.com/ogdayv/\">OG Dayv\u003c/a> — stands outside his grandmother’s house in February as thick, gray clouds condense all over Oakland. In a knit beanie and a quilted jacket, Coogler looks right at home beneath an overcast sky.\u003c/p>\n\u003cp>[aside tag='fit-check' label='More from Fit Check']Even when he’s on stage performing tracks like “Limoncello” from the \u003ci>Wakanda Forever\u003c/i> soundtrack, Coogler keeps it comfy in a bucket hat, Dickies and a roomy trench coat that lightly billows as he moves.\u003c/p>\n\u003cp>“I would describe my sense of style as the three Cs: comfy, cozy and cool,” says Coogler, who was born in Oakland and now lives in Richmond.\u003c/p>\n\u003cp>But while the Bay is known for its laid-back clothing, Coogler says we don’t give enough credit where credit is due — and he doesn’t mean to Patagonia.\u003c/p>\n\u003cfigure id=\"attachment_13953405\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg\" alt=\"Person sits relaxed in corner of long green couch in living room\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler gets comfy in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coogler, cozy and cool is Mac Dre on the cover of his 1991 EP \u003ci>\u003ca href=\"https://i.discogs.com/1mK5OvFj9P61mwJc7fOuu98vgSyjrVCErFnSSFR-87E/rs:fit/g:sm/q:90/h:600/w:593/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTk2MzEx/Mi0xNTUyOTMzNDE2/LTQwNjUuanBlZw.jpeg\">California Livin’\u003c/a>\u003c/i>: posted up on a cushy, white couch in jeans and an oversized white baseball tee, leaning back on his elbow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just screams Bay Area,” Coogler says.\u003c/p>\n\u003cp>And whether Coogler is chilling at home playing \u003ci>Pokémon Platinum\u003c/i> on his Nintendo DS or heading out to a music video shoot, there are two cultural touchstones that guide his wardrobe: hip-hop and the Black Panthers.\u003c/p>\n\u003ch2>Oversized, underrated\u003c/h2>\n\u003cp>“From what I’ve observed in my 33 years, hip-hop is the most influential thing on the planet,” Coogler says.\u003c/p>\n\u003cp>That includes its influence on what people wear. Cool, comfy Bay Area style is Keak Da Sneak wearing oversized T-shirts and jeans in the ’90s. It’s LaRussell sporting Crocs in 2024. And it’s rooted in a fusion of hip-hop and skater culture that began in the mid-’90s.\u003c/p>\n\u003cfigure id=\"attachment_13954308\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg\" alt=\"Person in beanie with cross-body back looks out windows\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler wears a favorite beanie on a rainy day in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coogler points to the mid-aughts Bay Area rap group The Pack, who came on the scene just as he was figuring out his sense of style, as the embodiment of that fusion.\u003c/p>\n\u003cp>“The Pack — they bridged the gap between rap culture and skate culture,” he says. “They came out of Berkeley and they were baggy: big hoodies, big jeans and the Vans, which was such a crazy polarizing look during a time when everyone was wearing Jordans.”\u003c/p>\n\u003ch2>The longshoreman-meets-Black Panther aesthetic\u003c/h2>\n\u003cp>At Coogler’s grandmother’s house, the only decor on the porch is a worn-out “Welcome to Wakanda” doormat — an ode to Coogler’s older brother, co-writer and director of the \u003ci>Black Panther\u003c/i> movies, Ryan Coogler.\u003c/p>\n\u003cp>But that doormat doesn’t mark the only noteworthy entryway in the neighborhood. Just a few blocks away is the \u003ca href=\"https://oaklandside.org/2022/02/04/the-black-panther-partys-original-headquarters-in-north-oakland-may-be-replaced-with-apartments/\">original headquarters of the Black Panther Party\u003c/a> on Martin Luther King Jr. Way, another part of Coogler’s family history.\u003c/p>\n\u003cp>[aside postID='news_11830384']Long before the late Chadwick Boseman took up the mantle of T’Challa, a man named Clarence Thomas (not the Supreme Court Justice) was a student at San Francisco State University in the 1960s. Thomas participated in a wave of student protests organized by the Black Student Union and the Third World Liberation Front that led to \u003ca href=\"https://www.kqed.org/news/11830384/how-the-longest-student-strike-in-u-s-history-created-ethnic-studies\">the creation of the school’s ethnic studies department\u003c/a> (the country’s first). He’s also Coogler’s uncle and style icon.\u003c/p>\n\u003cp>“The Panthers never looked disheveled, rusty or dusty — it’s casual clothing, but it’s \u003ci>neat\u003c/i>,” Coogler said.\u003ci> “\u003c/i>And that’s what I always noticed about my uncle — he was always put together.”\u003c/p>\n\u003cfigure id=\"attachment_13953403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler sports a Burberry rain jacket and his favorite gold jewelry staples. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Uncle Clarence wore hardy, wide-legged work pants and a dark blue, wool coat that kept him warm while he worked at the Port of Oakland as a longshoreman, Coogler remembers. And when his uncle wasn’t working — like when he took a young Coogler to a Black history exhibit in Oakland — he carried himself with that same composed ease.\u003c/p>\n\u003cp>“Even when he wore jeans they would be crisp,” Coogler remembers. “Always had a nice leather belt, nice shirt, really nice jacket and maybe a turtleneck.”\u003c/p>\n\u003cp>There was a throughline between the practical longshoreman workwear and the semi-professional, Ivy-leaning sensibility of the Black Panthers that cohered in Uncle Clarence’s style. And it resonated with Coogler.\u003c/p>\n\u003cp>On stage, Coogler’s Dickies, his roomy houndstooth jacket and his collared dress shirt echo all those entwined memories and local family histories, he says.\u003c/p>\n\u003cfigure id=\"attachment_13953406\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953406\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in a houndstooth coat he wears during performances. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The displacement of style\u003c/h2>\n\u003cp>When Coogler was just a few years old, his parents couldn’t afford to live in Oakland anymore, despite their strong community ties. Like many other Black families, they were forced to move elsewhere — in the Coogler family’s case, to Richmond.\u003c/p>\n\u003cp>“Oh man, so when you walk through Oakland now, when you walk through Berkeley now, you can feel the culture shift,” he says. “I remember growing up in the Bay in the ’90s and the early 2000s — I remember it was minorities everywhere, not just Black people, and what happens is we get priced out.”\u003c/p>\n\u003cp>Coogler sees the corporate techy style that’s overtaken the Bay as part and parcel of that precipitous gentrification, which has \u003ca href=\"https://oaklandside.org/2022/04/01/oakland-home-histories-a-legacy-of-black-homeownership-in-maxwell-park/\">decreased Black homeownership in Oakland\u003c/a> enormously.\u003c/p>\n\u003cp>“If you’re a real Bay head, you know that Bay Area people don’t rock Patagonia like that — \u003cem>new\u003c/em> Bay Area people do,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13954310\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg\" alt=\"Person in plaid jacket, jeans, beanie and sunglasses\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in his ideal silhouette: comfy with a little structure. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gorp-y outerwear and soft basics are still very much a part of the Bay’s vernacular. But the regional brand staples for Coogler are like him — they came up in the Bay.\u003c/p>\n\u003cp>“We wore North Face, but the reason we wore North Face is because we got a North Face dealer in Berkeley,” he explains. “Gap hoodies — big Bay Area thing.”\u003c/p>\n\u003cp>Coogler wants to move back to Oakland one day, but he recognizes how it’s changed; it’s apparent in how people dress.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When you remove the people that make a place special, you lose the culture,” he says, “you lose the feel, you lose the zest, the flavor.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953402\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg\" alt=\"Person in white beanie, plaid jacket, dark shirt, cross-body bag opens jacket and smiles\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-05-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler poses for a photo in Oakland on Feb. 29, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Noah David Coogler — stage name \u003ca href=\"https://www.instagram.com/ogdayv/\">OG Dayv\u003c/a> — stands outside his grandmother’s house in February as thick, gray clouds condense all over Oakland. In a knit beanie and a quilted jacket, Coogler looks right at home beneath an overcast sky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even when he’s on stage performing tracks like “Limoncello” from the \u003ci>Wakanda Forever\u003c/i> soundtrack, Coogler keeps it comfy in a bucket hat, Dickies and a roomy trench coat that lightly billows as he moves.\u003c/p>\n\u003cp>“I would describe my sense of style as the three Cs: comfy, cozy and cool,” says Coogler, who was born in Oakland and now lives in Richmond.\u003c/p>\n\u003cp>But while the Bay is known for its laid-back clothing, Coogler says we don’t give enough credit where credit is due — and he doesn’t mean to Patagonia.\u003c/p>\n\u003cfigure id=\"attachment_13953405\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg\" alt=\"Person sits relaxed in corner of long green couch in living room\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-30-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler gets comfy in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coogler, cozy and cool is Mac Dre on the cover of his 1991 EP \u003ci>\u003ca href=\"https://i.discogs.com/1mK5OvFj9P61mwJc7fOuu98vgSyjrVCErFnSSFR-87E/rs:fit/g:sm/q:90/h:600/w:593/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTk2MzEx/Mi0xNTUyOTMzNDE2/LTQwNjUuanBlZw.jpeg\">California Livin’\u003c/a>\u003c/i>: posted up on a cushy, white couch in jeans and an oversized white baseball tee, leaning back on his elbow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It just screams Bay Area,” Coogler says.\u003c/p>\n\u003cp>And whether Coogler is chilling at home playing \u003ci>Pokémon Platinum\u003c/i> on his Nintendo DS or heading out to a music video shoot, there are two cultural touchstones that guide his wardrobe: hip-hop and the Black Panthers.\u003c/p>\n\u003ch2>Oversized, underrated\u003c/h2>\n\u003cp>“From what I’ve observed in my 33 years, hip-hop is the most influential thing on the planet,” Coogler says.\u003c/p>\n\u003cp>That includes its influence on what people wear. Cool, comfy Bay Area style is Keak Da Sneak wearing oversized T-shirts and jeans in the ’90s. It’s LaRussell sporting Crocs in 2024. And it’s rooted in a fusion of hip-hop and skater culture that began in the mid-’90s.\u003c/p>\n\u003cfigure id=\"attachment_13954308\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg\" alt=\"Person in beanie with cross-body back looks out windows\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-43-BL-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Noah David Coogler wears a favorite beanie on a rainy day in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coogler points to the mid-aughts Bay Area rap group The Pack, who came on the scene just as he was figuring out his sense of style, as the embodiment of that fusion.\u003c/p>\n\u003cp>“The Pack — they bridged the gap between rap culture and skate culture,” he says. “They came out of Berkeley and they were baggy: big hoodies, big jeans and the Vans, which was such a crazy polarizing look during a time when everyone was wearing Jordans.”\u003c/p>\n\u003ch2>The longshoreman-meets-Black Panther aesthetic\u003c/h2>\n\u003cp>At Coogler’s grandmother’s house, the only decor on the porch is a worn-out “Welcome to Wakanda” doormat — an ode to Coogler’s older brother, co-writer and director of the \u003ci>Black Panther\u003c/i> movies, Ryan Coogler.\u003c/p>\n\u003cp>But that doormat doesn’t mark the only noteworthy entryway in the neighborhood. Just a few blocks away is the \u003ca href=\"https://oaklandside.org/2022/02/04/the-black-panther-partys-original-headquarters-in-north-oakland-may-be-replaced-with-apartments/\">original headquarters of the Black Panther Party\u003c/a> on Martin Luther King Jr. Way, another part of Coogler’s family history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Long before the late Chadwick Boseman took up the mantle of T’Challa, a man named Clarence Thomas (not the Supreme Court Justice) was a student at San Francisco State University in the 1960s. Thomas participated in a wave of student protests organized by the Black Student Union and the Third World Liberation Front that led to \u003ca href=\"https://www.kqed.org/news/11830384/how-the-longest-student-strike-in-u-s-history-created-ethnic-studies\">the creation of the school’s ethnic studies department\u003c/a> (the country’s first). He’s also Coogler’s uncle and style icon.\u003c/p>\n\u003cp>“The Panthers never looked disheveled, rusty or dusty — it’s casual clothing, but it’s \u003ci>neat\u003c/i>,” Coogler said.\u003ci> “\u003c/i>And that’s what I always noticed about my uncle — he was always put together.”\u003c/p>\n\u003cfigure id=\"attachment_13953403\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953403\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-07-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler sports a Burberry rain jacket and his favorite gold jewelry staples. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Uncle Clarence wore hardy, wide-legged work pants and a dark blue, wool coat that kept him warm while he worked at the Port of Oakland as a longshoreman, Coogler remembers. And when his uncle wasn’t working — like when he took a young Coogler to a Black history exhibit in Oakland — he carried himself with that same composed ease.\u003c/p>\n\u003cp>“Even when he wore jeans they would be crisp,” Coogler remembers. “Always had a nice leather belt, nice shirt, really nice jacket and maybe a turtleneck.”\u003c/p>\n\u003cp>There was a throughline between the practical longshoreman workwear and the semi-professional, Ivy-leaning sensibility of the Black Panthers that cohered in Uncle Clarence’s style. And it resonated with Coogler.\u003c/p>\n\u003cp>On stage, Coogler’s Dickies, his roomy houndstooth jacket and his collared dress shirt echo all those entwined memories and local family histories, he says.\u003c/p>\n\u003cfigure id=\"attachment_13953406\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953406\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FITCHECK-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in a houndstooth coat he wears during performances. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The displacement of style\u003c/h2>\n\u003cp>When Coogler was just a few years old, his parents couldn’t afford to live in Oakland anymore, despite their strong community ties. Like many other Black families, they were forced to move elsewhere — in the Coogler family’s case, to Richmond.\u003c/p>\n\u003cp>“Oh man, so when you walk through Oakland now, when you walk through Berkeley now, you can feel the culture shift,” he says. “I remember growing up in the Bay in the ’90s and the early 2000s — I remember it was minorities everywhere, not just Black people, and what happens is we get priced out.”\u003c/p>\n\u003cp>Coogler sees the corporate techy style that’s overtaken the Bay as part and parcel of that precipitous gentrification, which has \u003ca href=\"https://oaklandside.org/2022/04/01/oakland-home-histories-a-legacy-of-black-homeownership-in-maxwell-park/\">decreased Black homeownership in Oakland\u003c/a> enormously.\u003c/p>\n\u003cp>“If you’re a real Bay head, you know that Bay Area people don’t rock Patagonia like that — \u003cem>new\u003c/em> Bay Area people do,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13954310\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg\" alt=\"Person in plaid jacket, jeans, beanie and sunglasses\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240229-FitCheck-14-BL-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Coogler in his ideal silhouette: comfy with a little structure. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gorp-y outerwear and soft basics are still very much a part of the Bay’s vernacular. But the regional brand staples for Coogler are like him — they came up in the Bay.\u003c/p>\n\u003cp>“We wore North Face, but the reason we wore North Face is because we got a North Face dealer in Berkeley,” he explains. “Gap hoodies — big Bay Area thing.”\u003c/p>\n\u003cp>Coogler wants to move back to Oakland one day, but he recognizes how it’s changed; it’s apparent in how people dress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you remove the people that make a place special, you lose the culture,” he says, “you lose the feel, you lose the zest, the flavor.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How One Outfit Changed the Life of a Former Berkeley High Teacher",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>[aside postID='arts_13951605']Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another.\u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back.\u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back.\u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939666\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another.\u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back.\u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back.\u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939666\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Buddhist Priest Weighs in on Beauty and Bay Area Style",
"headTitle": "A Buddhist Priest Weighs in on Beauty and Bay Area Style | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about Bay Area fashion and personal expression. Find other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Enrobed in rich brown and deep green, Gengo Akiba takes a few patient moments to neatly tuck the fabric of his kimono around his crossed legs. Mid-morning sunlight diffuses through the latticed windows of the zendo — a building dedicated to meditation — and Akiba closes his eyes in its soft glow.\u003c/p>\n\u003cp>[aside postID='arts_13938519']The 81-year-old abbot of the \u003ca href=\"https://oaklandzencenter.org/\">Kojin-an Oakland Zen Center\u003c/a> is exactly who you might picture when you imagine an elderly Japanese priest: shaved head, small stature and the lighthearted chuckle of a person who’s made peace with the transient nature of existence. His presence, scaffolded by sturdy, rounded shoulders and gently folded hands, is buoyant and powerful all at once.\u003c/p>\n\u003cp>And he’s also got thoughts on beauty, fashion and regional style. (Kei Matsuda, who has been coming to the temple for decades now, translated for Akiba in late December as the abbot sipped on a mug of green tea.)\u003c/p>\n\u003cfigure id=\"attachment_13939857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba helped open the Kojin-an Oakland Zen Center in 1983; it moved to its present Rockridge location in 1990. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After spending a week in Japan, I get bored of the way people dress,” Akiba says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A take even hotter than the genmaicha Akiba’s drinking, but more on that later.\u003c/p>\n\u003cp>Akiba folds himself into ceremonial linen and cotton every Sunday for a 40-minute meditation at the Oakland Zen Center, where he has served as the abbot for almost 30 years. When he lights incense and leads chants, his sumptuous robes float around him. Lengthy kimono sleeves rustle as he laughs and gesticulates about the temple’s feline residents during his morning speech.\u003c/p>\n\u003cp>“What I wear in the zendo is a formal attire for priests,” Akiba says. “And that definitely makes me more aware of my role as priest and sort of prepares me for performing that role.”\u003c/p>\n\u003cp>Historically, Buddhist priests have sewn their own robes from donated scraps of fabric. Akiba’s priest-wear are no rags, but they were gifted to him by friends, he says.\u003c/p>\n\u003cfigure id=\"attachment_13939858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg\" alt=\"A person wears brown and blue clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba wraps himself in his ceremonial kesa. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over his brown kimono, Akiba drapes one shoulder and his torso with a \u003ca href=\"https://risdmuseum.org/exhibitions-events/exhibitions/kesa\">kesa\u003c/a> — a rectangular shawl stitched together carefully with smaller vertical and horizontal rectangles of fabric.\u003c/p>\n\u003cp>“The kesa is the part that’s most visible and perhaps the most important,” Akiba says. “The basic color is brown — that’s a very typical color for the kesa.”\u003c/p>\n\u003cp>While brown and black are common colors worn by priests to signify a renunciation of worldly desires and pleasures, Akiba’s kesa is the deep green of dried tea leaves. His status as a priest means he gets to choose what color he wears, he says. Around his neck is a rakusu, a rectangle of fabric that is a literal representation of Buddha’s robe.\u003c/p>\n\u003cp>Akiba’s clothes are beautiful, without a doubt. And yet Akiba isn’t very concerned about beauty.\u003c/p>\n\u003cp>“I don’t really look at that uniform every time like, ‘oh, this part is beautiful,’ or anything like that — that’s just what I wear,” he says.\u003c/p>\n\u003cp>But for Akiba, it’s possible to appreciate beauty in clothes, in nature and in people without clinging to it.\u003c/p>\n\u003cfigure id=\"attachment_13939964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba was installed as abbot at Kojin-an Oakland Zen Center in 1994. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beauty has a function in rituals and for people performing or attending rituals,” he says, “That is important, but it shouldn’t be the focus of attachment.”\u003c/p>\n\u003cp>And that “contradiction between simplicity and opulence,” as Akiba puts it, plays out in what he wears, too.\u003c/p>\n\u003cp>His ceremony-wear — draping and buttery, but also earthy and muted — is sumptuous and plain all at once. It’s a tension befitting the spiritual multiplicity of Zen, which holds beauty and its transience all at once.\u003c/p>\n\u003cp>When Akiba is clearing crumbly piles of fall leaves from the yard or carrying groceries on a long walk home, he trades his robes for samue, a more casual kimono and pants set that’s traditionally worn by priests but has been adopted by non-religious folks in Japan too.\u003c/p>\n\u003cfigure id=\"attachment_13939965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg\" alt=\"A person wears brown and blue clothing in a natural setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba in his workwear. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the cold months of the year, he layers a Uniqlo down vest and a knit button-up shirt under the kimono top and tucks a blue knit beanie over his bald head.\u003c/p>\n\u003cp>In spite of how casual the samue is, there’s a pleasing throughline that joins Akiba’s workwear with his ceremonial robes, like the neat stitches that join the panels of linen on his rakusu. His workwear set echoes the rich brown of his robes and are also flawlessly proportional to his short stature. The false white collar that he wears under his abbot’s clothes also peeks out from under his samue, and another rakusu — this one blue — hangs from his neck.\u003c/p>\n\u003cp>When Akiba takes regular walks around his Oakland neighborhood in his samue and beanie, the Buddhist priest says he’s highly entertained by the parade of people and clothes he encounters.\u003c/p>\n\u003cfigure id=\"attachment_13939856\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg\" alt=\"Two photos side by side of brown and blue clothing is seen in detail in a wooden area.\" width=\"2500\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1536x506.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-2048x675.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1920x633.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Akiba displays his rakusu. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I go to Tokyo and the train stations are full of people, there are men and women dressed very fashionably in different colors and different styles,” he says. “But they also look the same to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While people in Japan are fairly dressy and formal, he says, Bay Area folks dress comfortably and casually: “And I think that actually is more revealing of who each person is.”\u003c/p>\n\n",
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"excerpt": "The 81-year-old Oakland Zen Center abbot talks priestly linens and offers his opinions on local dress.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about Bay Area fashion and personal expression. Find other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Enrobed in rich brown and deep green, Gengo Akiba takes a few patient moments to neatly tuck the fabric of his kimono around his crossed legs. Mid-morning sunlight diffuses through the latticed windows of the zendo — a building dedicated to meditation — and Akiba closes his eyes in its soft glow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 81-year-old abbot of the \u003ca href=\"https://oaklandzencenter.org/\">Kojin-an Oakland Zen Center\u003c/a> is exactly who you might picture when you imagine an elderly Japanese priest: shaved head, small stature and the lighthearted chuckle of a person who’s made peace with the transient nature of existence. His presence, scaffolded by sturdy, rounded shoulders and gently folded hands, is buoyant and powerful all at once.\u003c/p>\n\u003cp>And he’s also got thoughts on beauty, fashion and regional style. (Kei Matsuda, who has been coming to the temple for decades now, translated for Akiba in late December as the abbot sipped on a mug of green tea.)\u003c/p>\n\u003cfigure id=\"attachment_13939857\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939857\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-12-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba helped open the Kojin-an Oakland Zen Center in 1983; it moved to its present Rockridge location in 1990. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“After spending a week in Japan, I get bored of the way people dress,” Akiba says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A take even hotter than the genmaicha Akiba’s drinking, but more on that later.\u003c/p>\n\u003cp>Akiba folds himself into ceremonial linen and cotton every Sunday for a 40-minute meditation at the Oakland Zen Center, where he has served as the abbot for almost 30 years. When he lights incense and leads chants, his sumptuous robes float around him. Lengthy kimono sleeves rustle as he laughs and gesticulates about the temple’s feline residents during his morning speech.\u003c/p>\n\u003cp>“What I wear in the zendo is a formal attire for priests,” Akiba says. “And that definitely makes me more aware of my role as priest and sort of prepares me for performing that role.”\u003c/p>\n\u003cp>Historically, Buddhist priests have sewn their own robes from donated scraps of fabric. Akiba’s priest-wear are no rags, but they were gifted to him by friends, he says.\u003c/p>\n\u003cfigure id=\"attachment_13939858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg\" alt=\"A person wears brown and blue clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-GENGO-AKIBA-MD-08-KQED-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba wraps himself in his ceremonial kesa. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over his brown kimono, Akiba drapes one shoulder and his torso with a \u003ca href=\"https://risdmuseum.org/exhibitions-events/exhibitions/kesa\">kesa\u003c/a> — a rectangular shawl stitched together carefully with smaller vertical and horizontal rectangles of fabric.\u003c/p>\n\u003cp>“The kesa is the part that’s most visible and perhaps the most important,” Akiba says. “The basic color is brown — that’s a very typical color for the kesa.”\u003c/p>\n\u003cp>While brown and black are common colors worn by priests to signify a renunciation of worldly desires and pleasures, Akiba’s kesa is the deep green of dried tea leaves. His status as a priest means he gets to choose what color he wears, he says. Around his neck is a rakusu, a rectangle of fabric that is a literal representation of Buddha’s robe.\u003c/p>\n\u003cp>Akiba’s clothes are beautiful, without a doubt. And yet Akiba isn’t very concerned about beauty.\u003c/p>\n\u003cp>“I don’t really look at that uniform every time like, ‘oh, this part is beautiful,’ or anything like that — that’s just what I wear,” he says.\u003c/p>\n\u003cp>But for Akiba, it’s possible to appreciate beauty in clothes, in nature and in people without clinging to it.\u003c/p>\n\u003cfigure id=\"attachment_13939964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg\" alt=\"A person wears brown and green clothing outside a wooden building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba was installed as abbot at Kojin-an Oakland Zen Center in 1994. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beauty has a function in rituals and for people performing or attending rituals,” he says, “That is important, but it shouldn’t be the focus of attachment.”\u003c/p>\n\u003cp>And that “contradiction between simplicity and opulence,” as Akiba puts it, plays out in what he wears, too.\u003c/p>\n\u003cp>His ceremony-wear — draping and buttery, but also earthy and muted — is sumptuous and plain all at once. It’s a tension befitting the spiritual multiplicity of Zen, which holds beauty and its transience all at once.\u003c/p>\n\u003cp>When Akiba is clearing crumbly piles of fall leaves from the yard or carrying groceries on a long walk home, he trades his robes for samue, a more casual kimono and pants set that’s traditionally worn by priests but has been adopted by non-religious folks in Japan too.\u003c/p>\n\u003cfigure id=\"attachment_13939965\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939965\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg\" alt=\"A person wears brown and blue clothing in a natural setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/231226-GENGO-AKIBA-MD-17-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Akiba in his workwear. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the cold months of the year, he layers a Uniqlo down vest and a knit button-up shirt under the kimono top and tucks a blue knit beanie over his bald head.\u003c/p>\n\u003cp>In spite of how casual the samue is, there’s a pleasing throughline that joins Akiba’s workwear with his ceremonial robes, like the neat stitches that join the panels of linen on his rakusu. His workwear set echoes the rich brown of his robes and are also flawlessly proportional to his short stature. The false white collar that he wears under his abbot’s clothes also peeks out from under his samue, and another rakusu — this one blue — hangs from his neck.\u003c/p>\n\u003cp>When Akiba takes regular walks around his Oakland neighborhood in his samue and beanie, the Buddhist priest says he’s highly entertained by the parade of people and clothes he encounters.\u003c/p>\n\u003cfigure id=\"attachment_13939856\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939856\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg\" alt=\"Two photos side by side of brown and blue clothing is seen in detail in a wooden area.\" width=\"2500\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1536x506.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-2048x675.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231226-Gengo-Akiba-MD-DIPTYCH-01-1920x633.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Akiba displays his rakusu. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I go to Tokyo and the train stations are full of people, there are men and women dressed very fashionably in different colors and different styles,” he says. “But they also look the same to me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While people in Japan are fairly dressy and formal, he says, Bay Area folks dress comfortably and casually: “And I think that actually is more revealing of who each person is.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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