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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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"title": "Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit",
"headTitle": "Cultural Appropriation Is the Odd Finale of the de Young’s New Fashion Exhibit | KQED",
"content": "\u003cp>\u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">\u003cem>Fashioning San Francisco: A Century of Style\u003c/em>\u003c/a>, opening Jan. 20 at the de Young Museum, is an extensive collection of impressive craftsmanship. It’s also a peek into the closets of some of the wealthiest San Franciscans of the past century, broken up into a strange amalgam of themes. Rows of mannequins are draped in gowns that this-and-that socialite wore to this-and-that high society function, which makes for an awkward transition into the exhibit’s finale: cultural appropriation.\u003c/p>\n\u003cp>Throughout the exhibition, faux balconies and elevated platforms set the stage for silk chiffon, taffeta and meticulous hand-sewing by haute couture legends like Jean Paul Gaultier, Coco Chanel and Rei Kawakubo. Wealthy San Franciscan women wore these masterpieces to local balls and Parisian soirées — and they’re breathtaking.\u003c/p>\n\u003cfigure id=\"attachment_13950633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Blancquaert, Evening ensemble: bodice and skirt, ca. 1905. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit positions the philanthropy of people like those socialites as “vital to the lived experiences of San Franciscans since the city’s inception,” without much of a critical eye on the role of the powerful in the city’s ongoing social and racial inequality. It’s a lopsided framework that makes the exhibit’s final section abrupt, and its larger message incoherent. [aside postid='arts_13950359']\u003c/p>\n\u003cp>In the farthest corner of the exhibit, mandarin collars and African-inspired beadwork by white designers invite museum guests to reflect on cultural appropriation in a section called “Global Aesthetic Influences” — a cautious title that whispers, “I’ve been focus-grouped.”\u003c/p>\n\u003cp>“The collection reflects the centuries-long practice of cultural appropriation and commodification in fashion and the arts broadly,” reads the text panel. The reflection feels sudden, given hardly any other mention of power dynamics or racism throughout the halls of haute couture leading up to this point.\u003c/p>\n\u003cfigure id=\"attachment_13950634\" class=\"wp-caption aligncenter\" style=\"max-width: 1977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg\" alt=\"\" width=\"1977\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg 1977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-800x1036.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1020x1321.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1582x2048.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1920x2486.jpg 1920w\" sizes=\"(max-width: 1977px) 100vw, 1977px\">\u003cfigcaption class=\"wp-caption-text\">Callot Sœurs. Ensemble: bodice and skirt, ca. 1908. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The description for one lambs’ wool number by Karl Lagerfeld — \u003ca href=\"https://www.kqed.org/arts/13928464/met-gala-2023-karl-lagerfeld-best-and-worst\">a notorious bigot\u003c/a> still worshiped by fashion elite — doesn’t specify which culture he’s appropriating, or offer further insight from museum curators as to why they included it here. It’s kind of like the de Young grabbed all the vaguely or explicitly ethnic clothes that might get them into trouble and put them in a room together. And their answer to that — a hard and fast insertion of nuance that isn’t woven through any other part of the collection — feels insufficient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere, the collection breaks down into other themed sections, including the period right after the 1906 earthquake that sent San Francisco into a tailspin — but apparently sent the city’s elite into French-imported silks and lace. The exhibition describes how affluent San Franciscans used fashion to reclaim their identities after the disaster, which isn’t a hugely compelling narrative when we remember that the city’s \u003ca href=\"https://www.kqed.org/arts/13898345/the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population\">relief funds highly favored the rich and powerful\u003c/a>, whom activists accused of spending the money on lavish cars.\u003c/p>\n\u003cp>There’s also a “Little Black Dress” collection that reflects on how wartime shortages necessitated a wardrobe staple that met the “needs and budgets of women across the social class spectrum.” But the only spectrum featured is from Chanel to Valentino.\u003c/p>\n\u003cfigure id=\"attachment_13950632\" class=\"wp-caption aligncenter\" style=\"max-width: 1838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg\" alt=\"\" width=\"1838\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg 1838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-800x1114.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1020x1421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-768x1070.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1103x1536.jpg 1103w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1470x2048.jpg 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1920x2674.jpg 1920w\" sizes=\"(max-width: 1838px) 100vw, 1838px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Chanel. House of Chanel. Evening ensemble: dress, belt, capelet, and slip; 1939. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deeper into the exhibit is a larger hall of gowns called “After the Ball,” which looks like a snapshot of the Met Gala. Highlights there include a floor-length white polka-dot dress by San Francisco-born designer Richard Tam, whose evening wear was featured in \u003cem>Vogue\u003c/em> in the ’60s. [aside postid='arts_13950600']\u003c/p>\n\u003cp>There’s a lavish Oscar de la Renta dress sprawling with brown ruffles worn by San Francisco socialite \u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\">Dede Wilsey\u003c/a>, a longtime supporter of the de Young and former board president of the Fine Arts Museums, whose father was an ambassador to Luxembourg and Austria. (Wilsey also paid $1,000 for each of her dogs’ names to be included on a donor wall of the museum, if that gives you an idea of the kind of old money we’re talking about.)\u003c/p>\n\u003cp>Amid the pomp and circumstance — which can get a bit boring and very frivolous — there are gems like dresses worn by Leola King, an icon of the \u003ca href=\"https://www.kqed.org/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore\">Fillmore’s storied jazz and blues scene\u003c/a>, and some daring looks by avant garde Asian designers like Junya Watanabe, Vivienne Tam and the Bay Area’s own Kaisik Wong. There’s also a pair of colorful patchwork boots from the ’70s by an unknown designer that are pretty fabulous.\u003c/p>\n\u003cfigure id=\"attachment_13950631\" class=\"wp-caption aligncenter\" style=\"max-width: 2167px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg\" alt=\"\" width=\"2167\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg 2167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1734x2048.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1920x2268.jpg 1920w\" sizes=\"(max-width: 2167px) 100vw, 2167px\">\u003cfigcaption class=\"wp-caption-text\">Pair of woman’s boots, 1972. Pieced Leather. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before visitors ascend a flight of grand museum stairs to the main event, a trio of augmented reality mirrors courtesy of Snapchat invites museumgoers to try on Valentino and Kaisik Wong in real time — cool in theory, gimmicky in practice.\u003c/p>\n\u003cp>If you’re looking for a nuanced, comprehensive collection of San Francisco clothing that reflects the city’s history in all its classes and creeds, this isn’t that. But if you’re curious how the richest of the rich dressed for a ball at Versailles or a gala at the San Francisco Opera, then this is the exhibit for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fashioning San Francisco: A Century of Style’ opens at the de Young Museum on Jan. 20 and continues through Aug. 11, 2024. \u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "'Fashioning San Francisco: A Century of Style,' opening Jan. 20, presents couture worn by the city's elite. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">\u003cem>Fashioning San Francisco: A Century of Style\u003c/em>\u003c/a>, opening Jan. 20 at the de Young Museum, is an extensive collection of impressive craftsmanship. It’s also a peek into the closets of some of the wealthiest San Franciscans of the past century, broken up into a strange amalgam of themes. Rows of mannequins are draped in gowns that this-and-that socialite wore to this-and-that high society function, which makes for an awkward transition into the exhibit’s finale: cultural appropriation.\u003c/p>\n\u003cp>Throughout the exhibition, faux balconies and elevated platforms set the stage for silk chiffon, taffeta and meticulous hand-sewing by haute couture legends like Jean Paul Gaultier, Coco Chanel and Rei Kawakubo. Wealthy San Franciscan women wore these masterpieces to local balls and Parisian soirées — and they’re breathtaking.\u003c/p>\n\u003cfigure id=\"attachment_13950633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950633\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-8b-Blancqaert-1905-detail-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Blancquaert, Evening ensemble: bodice and skirt, ca. 1905. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit positions the philanthropy of people like those socialites as “vital to the lived experiences of San Franciscans since the city’s inception,” without much of a critical eye on the role of the powerful in the city’s ongoing social and racial inequality. It’s a lopsided framework that makes the exhibit’s final section abrupt, and its larger message incoherent. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the farthest corner of the exhibit, mandarin collars and African-inspired beadwork by white designers invite museum guests to reflect on cultural appropriation in a section called “Global Aesthetic Influences” — a cautious title that whispers, “I’ve been focus-grouped.”\u003c/p>\n\u003cp>“The collection reflects the centuries-long practice of cultural appropriation and commodification in fashion and the arts broadly,” reads the text panel. The reflection feels sudden, given hardly any other mention of power dynamics or racism throughout the halls of haute couture leading up to this point.\u003c/p>\n\u003cfigure id=\"attachment_13950634\" class=\"wp-caption aligncenter\" style=\"max-width: 1977px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg\" alt=\"\" width=\"1977\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-scaled.jpg 1977w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-800x1036.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1020x1321.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1186x1536.jpg 1186w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1582x2048.jpg 1582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-31b-Callot-Soeurs-1908-Back-1920x2486.jpg 1920w\" sizes=\"(max-width: 1977px) 100vw, 1977px\">\u003cfigcaption class=\"wp-caption-text\">Callot Sœurs. Ensemble: bodice and skirt, ca. 1908. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The description for one lambs’ wool number by Karl Lagerfeld — \u003ca href=\"https://www.kqed.org/arts/13928464/met-gala-2023-karl-lagerfeld-best-and-worst\">a notorious bigot\u003c/a> still worshiped by fashion elite — doesn’t specify which culture he’s appropriating, or offer further insight from museum curators as to why they included it here. It’s kind of like the de Young grabbed all the vaguely or explicitly ethnic clothes that might get them into trouble and put them in a room together. And their answer to that — a hard and fast insertion of nuance that isn’t woven through any other part of the collection — feels insufficient.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere, the collection breaks down into other themed sections, including the period right after the 1906 earthquake that sent San Francisco into a tailspin — but apparently sent the city’s elite into French-imported silks and lace. The exhibition describes how affluent San Franciscans used fashion to reclaim their identities after the disaster, which isn’t a hugely compelling narrative when we remember that the city’s \u003ca href=\"https://www.kqed.org/arts/13898345/the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population\">relief funds highly favored the rich and powerful\u003c/a>, whom activists accused of spending the money on lavish cars.\u003c/p>\n\u003cp>There’s also a “Little Black Dress” collection that reflects on how wartime shortages necessitated a wardrobe staple that met the “needs and budgets of women across the social class spectrum.” But the only spectrum featured is from Chanel to Valentino.\u003c/p>\n\u003cfigure id=\"attachment_13950632\" class=\"wp-caption aligncenter\" style=\"max-width: 1838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg\" alt=\"\" width=\"1838\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-scaled.jpg 1838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-800x1114.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1020x1421.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-768x1070.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1103x1536.jpg 1103w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1470x2048.jpg 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-17-Chanel-1939-1920x2674.jpg 1920w\" sizes=\"(max-width: 1838px) 100vw, 1838px\">\u003cfigcaption class=\"wp-caption-text\">Gabrielle Chanel. House of Chanel. Evening ensemble: dress, belt, capelet, and slip; 1939. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deeper into the exhibit is a larger hall of gowns called “After the Ball,” which looks like a snapshot of the Met Gala. Highlights there include a floor-length white polka-dot dress by San Francisco-born designer Richard Tam, whose evening wear was featured in \u003cem>Vogue\u003c/em> in the ’60s. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lavish Oscar de la Renta dress sprawling with brown ruffles worn by San Francisco socialite \u003ca href=\"https://www.nytimes.com/2016/09/25/fashion/dede-wilsey-de-young-museum-san-francisco-socialite.html\">Dede Wilsey\u003c/a>, a longtime supporter of the de Young and former board president of the Fine Arts Museums, whose father was an ambassador to Luxembourg and Austria. (Wilsey also paid $1,000 for each of her dogs’ names to be included on a donor wall of the museum, if that gives you an idea of the kind of old money we’re talking about.)\u003c/p>\n\u003cp>Amid the pomp and circumstance — which can get a bit boring and very frivolous — there are gems like dresses worn by Leola King, an icon of the \u003ca href=\"https://www.kqed.org/arts/13874853/the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore\">Fillmore’s storied jazz and blues scene\u003c/a>, and some daring looks by avant garde Asian designers like Junya Watanabe, Vivienne Tam and the Bay Area’s own Kaisik Wong. There’s also a pair of colorful patchwork boots from the ’70s by an unknown designer that are pretty fabulous.\u003c/p>\n\u003cfigure id=\"attachment_13950631\" class=\"wp-caption aligncenter\" style=\"max-width: 2167px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950631\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg\" alt=\"\" width=\"2167\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-scaled.jpg 2167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-800x945.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1020x1205.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-160x189.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-768x907.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1300x1536.jpg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1734x2048.jpg 1734w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Image-12-Pieced-leather-boots-1972-1920x2268.jpg 1920w\" sizes=\"(max-width: 2167px) 100vw, 2167px\">\u003cfigcaption class=\"wp-caption-text\">Pair of woman’s boots, 1972. Pieced Leather. \u003ccite>(Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before visitors ascend a flight of grand museum stairs to the main event, a trio of augmented reality mirrors courtesy of Snapchat invites museumgoers to try on Valentino and Kaisik Wong in real time — cool in theory, gimmicky in practice.\u003c/p>\n\u003cp>If you’re looking for a nuanced, comprehensive collection of San Francisco clothing that reflects the city’s history in all its classes and creeds, this isn’t that. But if you’re curious how the richest of the rich dressed for a ball at Versailles or a gala at the San Francisco Opera, then this is the exhibit for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fashioning San Francisco: A Century of Style’ opens at the de Young Museum on Jan. 20 and continues through Aug. 11, 2024. \u003ca href=\"https://www.famsf.org/exhibitions/fashioning-san-francisco\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "An Experimental Fashion Show Presents a Vision of Artists in Motion | KQED",
"content": "\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13939157']Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938519']The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "enter-nostalgia-bay-area-filipino-american-fashion",
"title": "This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels",
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"headTitle": "This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels | KQED",
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"content": "\u003cp>[dropcap]“O[/dropcap]ur first drop had maybe ten orders,” 23-year-old Jaden Yo-Eco tells me in front of Oakland Filipino restaurant \u003ca href=\"https://www.instagram.com/luckythreeseven/?hl=en\">Lucky Three Seven\u003c/a>. “Now it’s thousands, but it’s still only two of us packing in our garage.”\u003c/p>\n\u003cp>Yo-Eco, along with his best friend Humbert Lee — who’s not here because he’s training for an MMA match — is the owner of the streetwear brand \u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>. Their clothing line, which modernizes classic Filipino cultural wear, has found viral online success and has been worn by a long list of rappers that includes YG, Blxst, Toosii, Rucci, Shordie Shordie, 1TakeJay and others.\u003c/p>\n\u003cp>Tonight, the owners of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\">Lucky Three Seven\u003c/a> have allowed Yo-Eco to shoot a lookbook in the restaurant. It’s been overrun by a fleet of photographers and videographers, and in the kitchen, a group of models — which include Stockton Filipino rapper \u003ca href=\"https://www.instagram.com/nellynelmb/?hl=en\">MBNel\u003c/a> — are laughing and eating chicken wings and lumpia as they wait for the shoot to begin.\u003c/p>\n\u003cfigure id=\"attachment_13939328\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg\" alt=\"A candid shot of models laughing inside the kitchen of a Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheana Soriano (left), RJ Suave and MBJoeMari take a moment between shots during a photoshoot for Oakland clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underneath the iridescent glow of the restaurant’s red-and-yellow electric sign, Yo-Eco leans against the hood of his car in baggy cargos, Timberland boots and a faded purplish Enter Nostalgia crewneck. The car, which Yo-Eco bought after one of the brand’s first successful drops, is a vintage 1999 Mercedes SL500.\u003c/p>\n\u003cp>“I’ve always been into things from before my time,” he says. “That’s why I chose [Lucky Three Seven]. The neon signs remind me of the city back in the ’40s when they had the bright signs everywhere.” [aside label='More Style Stories' postid='arts_13938519,arts_13938668,arts_13936528']\u003c/p>\n\u003cp>The past, Yo-Eco says, is one of his biggest design inspirations — hence, the name Nostalgia. Their latest collection draws upon the traditional Filipino garment barong tagalog, a type of sheer, long-sleeve button-up shirt typically worn at Filipino weddings and celebrations.\u003c/p>\n\u003cp>“Growing up, I had a barong I’d wear on special occasions like my sister’s coming of age party — in Filipino culture, it’s called a debut,” says Yo-Eco. “So I thought, what if we did a short-sleeved version?”\u003c/p>\n\u003cp>Yo-Eco and Lee originally released a cream colorway in March and shot the lookbook for it at \u003ca href=\"https://www.barongandformal.com/\">Barong & Formal\u003c/a>, a Filipino bridal shop in Oakland. The photoshoot garnered online attention, helping Barong & Formal gain their first couple thousand followers on social media and inspiring them to launch an online store, Yo-Eco says.\u003c/p>\n\u003cfigure id=\"attachment_13938357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg\" alt=\"A person crosses their arms in front of their body with one hand holding their wrist. A gold bracelet hands from their wrist and tattoos cover their hands. They are wearing a knit shirt and off white pants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RJ Suave poses in a knit cardigran by Enter Nostalgia during a photoshoot in a local Filipino restaurant in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had instances where something blew up, but those didn’t mean as much,” Yo-Eco says. “With these shirts, we started telling stories and giving exposure to [Filipino-owned] businesses, like the barong shop. So it’s different.”\u003c/p>\n\u003cp>After the initial success, Yo-Eco released new colorways the models are wearing tonight: olive, grey and blue. The shirts, he notes, are not a totally faithful rendition of the traditional barong. They sport a paisley pattern drawn from hip-hop culture, a culture whose innate anti-authority spirit offers Yo-Eco — who dropped out of college to pursue Enter Nostalgia — a different, but valuable, medium through which to articulate his experience as a Filipino American.\u003c/p>\n\u003cp>“I’m that delinquent son that got tatted, got into the art and clothing scene,” says Yo-Eco. “Many Filipinos \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">have talented creative arts backgrounds\u003c/a>, but our immigrant parents just want us to find stability, to be a traditional nurse or a doctor or something. It means a lot to be able to represent this different side.”\u003c/p>\n\u003cfigure id=\"attachment_13939327\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg\" alt=\"A videographer speaks to models between shots at a dimly lit Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Videographer Miguel Mallari chats with models Sheana Soriano and Nichole Thorne during a photoshoot for clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After eating some of the best tocino I’ve ever had, Yo-Eco and I say goodbye. We plan to meet again at Lee’s house where the two pack their orders in Lee’s parents’ garage.\u003c/p>\n\u003cp>As I drive away, I play MBNel’s most popular song, “\u003ca href=\"https://youtu.be/hMiFQGU6a9U?si=QZqBt0-4YpwuOGqP\">In My City\u003c/a>,” on my car’s aux. “I never went to college like my mama, papa wanted,” MBNel croons. [ad fullwidth]\u003c/p>\n\u003cp>[dropcap]A[/dropcap] week later, Yo-Eco, Lee and I are standing in the Lee family garage on a rainy Friday night. The small space is cluttered with countless brown cardboard boxes filled with the brand’s shirts.\u003c/p>\n\u003cp>Lee, who is wearing one of the brand’s crochet cardigans (“It’s some \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">Asian grandma shit\u003c/a>,” he says with a laugh), is in a phenomenal mood. He and Yo-Eco haven’t seen each other in some time due to his rigorous MMA training schedule, and the two friends are elated.\u003c/p>\n\u003cfigure id=\"attachment_13939371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg\" alt=\"Two people sit in a room with a rack filled with clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco pose for a portrait at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They originally met in high school. Yo-Eco recalls how shortly after he started the brand in 2017 — “At the time, just words screen-printed on a T-shirt,” both concur — Lee would make the hour-and-a-half drive from Daly City to San Jose and back to pick up the T-shirts that Yo-Eco would then sell to his high school classmates out of the trunk of his car.\u003c/p>\n\u003cp>“It was mutual brotherly love,” says Lee. “It didn’t have to be T-shirts — it could’ve been anything. He could’ve opened a donut business, I would’ve gone to get dough or oil for him.”\u003c/p>\n\u003cp>In 2019, once the two graduated high school, Yo-Eco asked Lee — who knew how to build websites — to come on board as a co-owner of the brand and launch an online store. The two differ in many ways: Yo-Eco is reserved; Lee is extroverted. Yo-Eco is creative; Lee is more business-minded. They say that’s precisely what makes their partnership so fruitful.\u003c/p>\n\u003cp>“I’ll do the emails, file with the state, the financial stuff. But he’ll do the creative work, like the photoshoot at Lucky Three Seven or the designing, and I can train full time,” says Lee. “That’s why it works so well.”\u003c/p>\n\u003cfigure id=\"attachment_13939336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco (right) show their matching butterfly tattoos during a portrait session at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One commonality the two do share, though: the small butterfly tattoo that they both have on their middle finger. The two decided to get the matching tattoos on one of their many trips to LA when they’d drive down every two weeks with the intent of trying to get their clothes into the hands of rappers.\u003c/p>\n\u003cp>“The whole thing about butterflies starting as cocoons,” says Yo-Eco, referencing the tattoo. “We always had dreams that other people thought we were crazy for having. But we never doubted. We always knew we just had to stick to the script.”\u003c/p>\n\u003cfigure id=\"attachment_13938355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg\" alt=\"A purple sweatshirt with white lettering fills the photo frame. A hand is held in front.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enter Nostalgia co-founder Jaden Yo-Eco shows his ‘Nostalgia’ tattoo in Daly City on Nov. 17, 2023. Yo-Eco and his friend Humbert Lee created local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This shared blind faith — or “delusion” in the words of Yo-Eco and Lee — is what they both ultimately attribute their success to.\u003c/p>\n\u003cp>“I feel like even if we didn’t do Enter Nostalgia, we would’ve at the end been at the same place with anything else because of our mindset,” says Lee.\u003c/p>\n\u003cp>“It’s the same with anything in life,” agrees Yo-Eco. “To get somewhere, you have to be delusional about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>’s next collection comes out in 2024, and will be announced on \u003ca href=\"https://www.instagram.com/enternostalgia/?hl=en\">Instagram\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "YG and Blxst have been spotted wearing Enter Nostalgia, a brand created by two best friends in their early 20s.",
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"title": "This Bay Area Filipino Streetwear Is a Favorite Among Rappers and Rebels | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“O\u003c/span>\u003c/p>\u003cp>ur first drop had maybe ten orders,” 23-year-old Jaden Yo-Eco tells me in front of Oakland Filipino restaurant \u003ca href=\"https://www.instagram.com/luckythreeseven/?hl=en\">Lucky Three Seven\u003c/a>. “Now it’s thousands, but it’s still only two of us packing in our garage.”\u003c/p>\n\u003cp>Yo-Eco, along with his best friend Humbert Lee — who’s not here because he’s training for an MMA match — is the owner of the streetwear brand \u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>. Their clothing line, which modernizes classic Filipino cultural wear, has found viral online success and has been worn by a long list of rappers that includes YG, Blxst, Toosii, Rucci, Shordie Shordie, 1TakeJay and others.\u003c/p>\n\u003cp>Tonight, the owners of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\">Lucky Three Seven\u003c/a> have allowed Yo-Eco to shoot a lookbook in the restaurant. It’s been overrun by a fleet of photographers and videographers, and in the kitchen, a group of models — which include Stockton Filipino rapper \u003ca href=\"https://www.instagram.com/nellynelmb/?hl=en\">MBNel\u003c/a> — are laughing and eating chicken wings and lumpia as they wait for the shoot to begin.\u003c/p>\n\u003cfigure id=\"attachment_13939328\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg\" alt=\"A candid shot of models laughing inside the kitchen of a Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-06-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sheana Soriano (left), RJ Suave and MBJoeMari take a moment between shots during a photoshoot for Oakland clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underneath the iridescent glow of the restaurant’s red-and-yellow electric sign, Yo-Eco leans against the hood of his car in baggy cargos, Timberland boots and a faded purplish Enter Nostalgia crewneck. The car, which Yo-Eco bought after one of the brand’s first successful drops, is a vintage 1999 Mercedes SL500.\u003c/p>\n\u003cp>“I’ve always been into things from before my time,” he says. “That’s why I chose [Lucky Three Seven]. The neon signs remind me of the city back in the ’40s when they had the bright signs everywhere.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The past, Yo-Eco says, is one of his biggest design inspirations — hence, the name Nostalgia. Their latest collection draws upon the traditional Filipino garment barong tagalog, a type of sheer, long-sleeve button-up shirt typically worn at Filipino weddings and celebrations.\u003c/p>\n\u003cp>“Growing up, I had a barong I’d wear on special occasions like my sister’s coming of age party — in Filipino culture, it’s called a debut,” says Yo-Eco. “So I thought, what if we did a short-sleeved version?”\u003c/p>\n\u003cp>Yo-Eco and Lee originally released a cream colorway in March and shot the lookbook for it at \u003ca href=\"https://www.barongandformal.com/\">Barong & Formal\u003c/a>, a Filipino bridal shop in Oakland. The photoshoot garnered online attention, helping Barong & Formal gain their first couple thousand followers on social media and inspiring them to launch an online store, Yo-Eco says.\u003c/p>\n\u003cfigure id=\"attachment_13938357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938357\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg\" alt=\"A person crosses their arms in front of their body with one hand holding their wrist. A gold bracelet hands from their wrist and tattoos cover their hands. They are wearing a knit shirt and off white pants.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/L1003011-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RJ Suave poses in a knit cardigran by Enter Nostalgia during a photoshoot in a local Filipino restaurant in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had instances where something blew up, but those didn’t mean as much,” Yo-Eco says. “With these shirts, we started telling stories and giving exposure to [Filipino-owned] businesses, like the barong shop. So it’s different.”\u003c/p>\n\u003cp>After the initial success, Yo-Eco released new colorways the models are wearing tonight: olive, grey and blue. The shirts, he notes, are not a totally faithful rendition of the traditional barong. They sport a paisley pattern drawn from hip-hop culture, a culture whose innate anti-authority spirit offers Yo-Eco — who dropped out of college to pursue Enter Nostalgia — a different, but valuable, medium through which to articulate his experience as a Filipino American.\u003c/p>\n\u003cp>“I’m that delinquent son that got tatted, got into the art and clothing scene,” says Yo-Eco. “Many Filipinos \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">have talented creative arts backgrounds\u003c/a>, but our immigrant parents just want us to find stability, to be a traditional nurse or a doctor or something. It means a lot to be able to represent this different side.”\u003c/p>\n\u003cfigure id=\"attachment_13939327\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939327\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg\" alt=\"A videographer speaks to models between shots at a dimly lit Filipino restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231110-EnterNostalgia-19-AC-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Videographer Miguel Mallari chats with models Sheana Soriano and Nichole Thorne during a photoshoot for clothing brand Enter Nostalgia in Oakland on Nov. 10, 2023. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After eating some of the best tocino I’ve ever had, Yo-Eco and I say goodbye. We plan to meet again at Lee’s house where the two pack their orders in Lee’s parents’ garage.\u003c/p>\n\u003cp>As I drive away, I play MBNel’s most popular song, “\u003ca href=\"https://youtu.be/hMiFQGU6a9U?si=QZqBt0-4YpwuOGqP\">In My City\u003c/a>,” on my car’s aux. “I never went to college like my mama, papa wanted,” MBNel croons. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> week later, Yo-Eco, Lee and I are standing in the Lee family garage on a rainy Friday night. The small space is cluttered with countless brown cardboard boxes filled with the brand’s shirts.\u003c/p>\n\u003cp>Lee, who is wearing one of the brand’s crochet cardigans (“It’s some \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">Asian grandma shit\u003c/a>,” he says with a laugh), is in a phenomenal mood. He and Yo-Eco haven’t seen each other in some time due to his rigorous MMA training schedule, and the two friends are elated.\u003c/p>\n\u003cfigure id=\"attachment_13939371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939371\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg\" alt=\"Two people sit in a room with a rack filled with clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-006-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco pose for a portrait at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They originally met in high school. Yo-Eco recalls how shortly after he started the brand in 2017 — “At the time, just words screen-printed on a T-shirt,” both concur — Lee would make the hour-and-a-half drive from Daly City to San Jose and back to pick up the T-shirts that Yo-Eco would then sell to his high school classmates out of the trunk of his car.\u003c/p>\n\u003cp>“It was mutual brotherly love,” says Lee. “It didn’t have to be T-shirts — it could’ve been anything. He could’ve opened a donut business, I would’ve gone to get dough or oil for him.”\u003c/p>\n\u003cp>In 2019, once the two graduated high school, Yo-Eco asked Lee — who knew how to build websites — to come on board as a co-owner of the brand and launch an online store. The two differ in many ways: Yo-Eco is reserved; Lee is extroverted. Yo-Eco is creative; Lee is more business-minded. They say that’s precisely what makes their partnership so fruitful.\u003c/p>\n\u003cp>“I’ll do the emails, file with the state, the financial stuff. But he’ll do the creative work, like the photoshoot at Lucky Three Seven or the designing, and I can train full time,” says Lee. “That’s why it works so well.”\u003c/p>\n\u003cfigure id=\"attachment_13939336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231117-Enter-Nostalgia-024-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Humbert Lee (left) and Jaden Yo-Eco (right) show their matching butterfly tattoos during a portrait session at Lee’s home in Daly City, Calif., on Friday, Nov. 17, 2023. Lee and Yo-Eco are co-founders of local streetwear brand Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One commonality the two do share, though: the small butterfly tattoo that they both have on their middle finger. The two decided to get the matching tattoos on one of their many trips to LA when they’d drive down every two weeks with the intent of trying to get their clothes into the hands of rappers.\u003c/p>\n\u003cp>“The whole thing about butterflies starting as cocoons,” says Yo-Eco, referencing the tattoo. “We always had dreams that other people thought we were crazy for having. But we never doubted. We always knew we just had to stick to the script.”\u003c/p>\n\u003cfigure id=\"attachment_13938355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938355\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg\" alt=\"A purple sweatshirt with white lettering fills the photo frame. A hand is held in front.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231117-Enter-Nostalgia-015-JY-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Enter Nostalgia co-founder Jaden Yo-Eco shows his ‘Nostalgia’ tattoo in Daly City on Nov. 17, 2023. Yo-Eco and his friend Humbert Lee created local streetwear brand Enter Nostalgia. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This shared blind faith — or “delusion” in the words of Yo-Eco and Lee — is what they both ultimately attribute their success to.\u003c/p>\n\u003cp>“I feel like even if we didn’t do Enter Nostalgia, we would’ve at the end been at the same place with anything else because of our mindset,” says Lee.\u003c/p>\n\u003cp>“It’s the same with anything in life,” agrees Yo-Eco. “To get somewhere, you have to be delusional about it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://enternostalgia.com/\">Enter Nostalgia\u003c/a>’s next collection comes out in 2024, and will be announced on \u003ca href=\"https://www.instagram.com/enternostalgia/?hl=en\">Instagram\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2006, Too $hort imparted a timeless lesson on his song “Baller”: “You gotta keep tryin’, just don’t give up… How you gon’ ball if you got no hustle.”\u003c/p>\n\u003cp>With the tortured Oakland Athletics all but departed to Las Vegas, a group of Oaklanders — led by longtime friends and baseball fans Paul Freedman and Bryan Carmel — are doing just that. They’re dusting off, stepping back to the plate and exercising their ballerhood.\u003c/p>\n\u003cp>A new minor league baseball team, the Oakland B’s (short for Ballers), were publicly introduced on Nov. 28 at Laney College. Local figures — including Oakland Mayor Sheng Thao, Mistah F.A.B. and \u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">Hal the Hot Dog Guy\u003c/a> — were in attendance to show support.[aside postid='news_11968536']\u003c/p>\n\u003cp>The team will participate in the 84-year-old Pioneer Baseball League, an independent minor league system with 12 franchises scattered throughout the Mountain Time Zone. Oakland will become the league’s first coastal expansion, with \u003ca href=\"https://oaklandside.org/2023/11/28/new-baseball-team-oakland-ballers-pioneer-league/\">the team making a multi-million dollar swing to play at Laney’s baseball field next season.\u003c/a>\u003c/p>\n\u003cp>To some critics, simply choosing the next letter in the alphabet may seem like a lackadaisical effort to cover up an A’s-shaped hole left in Oakland. But those familiar with minor league baseball will know that it’s in line with the inventive — if not satirical — nature of lower-league teams, which are traditionally far less concerned with the status quo (ever heard of the \u003ca href=\"https://www.milb.com/montgomery\">Montgomery Biscuits\u003c/a> or \u003ca href=\"https://www.milb.com/rocket-city\">Rocket City Trash Pandas\u003c/a>?).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the B’s are no joke — and neither is their branding. The team’s logo was designed by \u003ca href=\"https://www.instagram.com/dustinocanalin/?hl=en\">Dustin O. Canalin\u003c/a>, who led Nike’s development team for “The Town” jerseys worn in the Golden State Warriors’ final seasons in Oakland. He also designed \u003ca href=\"https://alwaystrophyhunting.com/blogs/lookbooks/stephen-curry-2974-counting-hat\">the hat Steph Curry \u003c/a>wore after breaking the NBA’s three-point point record in 2021, and illustrated \u003ca href=\"https://www.dustinocanalin.com/blogbydoc/tag/Draymond+Green\">Draymond Green’s T-shirt \u003c/a>for the Warriors championship parade in 2022.\u003c/p>\n\u003cfigure id=\"attachment_13938725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dustin O. Canalin’s mood board for the Oakland Ballers includes sports history, local figures and aesthetic inspiration for old English fonts. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Canalin’s no rookie when it comes to baseball. He grew up near the Oakland Coliseum, playing shortstop on his high school team, where he befriended eventual MLB stars Dontrelle Willis and Jimmy Rollins. It’s also the sport that inspired his career as \u003ca href=\"https://alwaystrophyhunting.com/\">a current streetwear designer\u003c/a>.\u003c/p>\n\u003cp>The Ballers’ creative director spoke with KQED Arts about his inspiration for the team’s aesthetic, Oakland’s storied past and the East Bay’s abundance of hustling.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Did you listen to Too $hort’s song “Baller” when you were brainstorming ideas for this logo? What does being a baller mean to you?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Dustin O. Canalin\u003c/strong>: Being a “baller” has a lot of connotations and symbolism … and it really fit with Oakland as a culture and community, and what I grew up on. I scoured for songs, words and meanings of baller and player. So Too $hort definitely came up. There’s always a connection between sports and music in Oakland.\u003c/p>\n\u003cp>\u003cb>The B’s is very similar to the A’s. How intentional was that? Is it meant as a diss?\u003c/b>\u003c/p>\n\u003cp>The main idea was the B’s from the start. Any slights to the A’s kind of developed while digging more deeply into the creative side of it all. Something we didn’t want to do was a bootleg version of the A’s. In the Bay, there’s a lot of hometown pride where designers will make their own versions of something. We are building off heritage, identity … remembering the past and making sure we’re respectful. But we’re also making something new. From a design process, we started with a blank piece of paper.\u003c/p>\n\u003cfigure id=\"attachment_13938780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg\" alt=\"a green baseball cap with an emblazoned B in old English lettering\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1536x869.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Ballers will be known as the B’s, and hope to debut at Laney College Baseball Field in 2024. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How would you describe the voice and tone of the final product?\u003c/b>\u003c/p>\n\u003cp>We thought about the culture of Oakland, the fans, the feeling and impact we wanted to have, and then we boiled it down to what we ended up building around: a real cultural confidence. When you look at people who come from the Bay — whether it’s $hort, the Raiders, Bruce Lee, Damian Lillard, Mistah F.A.B. — they all have a certain DNA built into their personality. It’s a type of person with confidence.\u003c/p>\n\u003cp>\u003cb>When it comes to Oakland baseball, most fans will immediately think of the A’s. Did the forgotten legacies of other teams — like the Oakland Oaks, Larks and Commuters — come into play?\u003c/b>\u003c/p>\n\u003cp>I wanted to understand the lifespan of sports in Oakland. I looked at everyone — the Oaks, Invaders, Warriors, when the A’s arrived, why the Oaks left. What I realized is that besides the Raiders, Invaders and Oaks, all those other teams were inherited by Oakland. They weren’t created here. The A’s and Warriors came from Kansas City and Philadelphia. They already had those names. So as far as this century goes, the Ballers and Roots are the only teams that have built their own identity on what Oakland is today.\u003c/p>\n\u003cp>\u003cb>One of your original logo ideas included a power fist clenching a baseball, which reminded me of Black Panther Party imagery. What other ideas did you sift through? \u003c/b>\u003c/p>\n\u003cp>At first we looked at a diamond, the idea of a jewel, and we wanted to create an idea around stadiums as this diamond or medallion for a community. But it was too abstract. We also wanted to build off Oakland’s legacy [with] the Black Panthers. I’ve always thought their identity represented so much, and the language that was used throughout that generation has always been really powerful to me. But it’s not exactly what a sports team would need.[aside postid='arts_13921216']\u003c/p>\n\u003cp>When I worked on the Town uniform [for the Warriors], I kept seeing images from my memories and research of Old English fonts — from the \u003cem>Oakland Tribune\u003c/em> to the older teams like the Larks, even the bootleg T-shirts on East 14th. It’s iconic. That’s the direction that hit home for us. Having the home plate built into the letter was strategic. Oakland is home; this team is home. That shape was a touch to give this its own personality. We also didn’t want it to be overly obvious and overpowering. It’s subtle. Like they say, “It’s in you, not on you.”\u003c/p>\n\u003cp>\u003cb>What challenges did you face in creating a new logo for Oakland?\u003c/b>\u003c/p>\n\u003cp>First and foremost, I knew the team wanted to represent something good for the community, especially with the A’s transitioning out. So I wanted to make sure the team’s identity didn’t overpower that goodness. The logo represents that goodness in Oakland. It’s a silent ambassador of the brand and city.\u003c/p>\n\u003cp>And it should look cool. A’s hats are a staple in fashion. I took that challenge to develop a new hat, a new signature for the city, and to make it cool. The letter isn’t styled perfectly. It has an edge. That’s on a designer nerd tip. That look helps it to embody everything we wanted.\u003c/p>\n\u003cfigure id=\"attachment_13938724\" class=\"wp-caption alignnone\" style=\"max-width: 2475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"2475\" height=\"2475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg 2475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1920x1920.jpg 1920w\" sizes=\"(max-width: 2475px) 100vw, 2475px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers are only the second professional team to be birthed in Oakland since 2000. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Minor league baseball can be very tongue-in-cheek. Did you find any inspiration in the humor of the minors?\u003c/b>\u003c/p>\n\u003cp>Baseball has always been my favorite sport, from a design perspective. It’s from a time of everything being hand-drawn, hand-embroidered, not computer-generated like everything is today. So I’m inspired by that essence of baseball and old minor league logos.\u003c/p>\n\u003cp>But being from the Bay, we’re not a joke. These uniforms, we want them to be ready for battle, not to be walking billboards or clowns. There’s a feeling of seriousness in being from Oakland. Look at the Raiders and Warriors. There’s no joke there. I think for this uniform we just wanted to make something ill. We darkened the colors to create a dark, deep green. It’s inspired by overcast weather, that toughness and darkness.\u003c/p>\n\u003cp>\u003cb>What’s your hope for the Oakland Ballers?\u003c/b>\u003c/p>\n\u003cp>We’re not building anything that doesn’t already exist. The community is already there — we just needed a logo for it. I’ve gone to so many A’s games and barely watched the actual game. It’s about the experiences, the people, the tailgating, eating, hanging out. With pro baseball leaving Oakland … this team will be there for that now, to represent that. It’s one of those things that is happening quick, but the community is what will sustain it. Everything we’re doing is just providing the tools to go out and rep Oakland. It’s a lifestyle.\u003c/p>\n\u003cp>\u003cb>Why should Oakland’s sports fans, who have been through so much in recent years, give this upstart franchise a chance?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With this team, they’re really listening. This is not being managed by one person or a corporation, it’s built within the community, for the community. If you have a problem with it, your voice can get heard. There’s a permanent seat here for you. The experience will only be as good as the people make it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2006, Too $hort imparted a timeless lesson on his song “Baller”: “You gotta keep tryin’, just don’t give up… How you gon’ ball if you got no hustle.”\u003c/p>\n\u003cp>With the tortured Oakland Athletics all but departed to Las Vegas, a group of Oaklanders — led by longtime friends and baseball fans Paul Freedman and Bryan Carmel — are doing just that. They’re dusting off, stepping back to the plate and exercising their ballerhood.\u003c/p>\n\u003cp>A new minor league baseball team, the Oakland B’s (short for Ballers), were publicly introduced on Nov. 28 at Laney College. Local figures — including Oakland Mayor Sheng Thao, Mistah F.A.B. and \u003ca href=\"https://www.kqed.org/arts/13914585/hal-the-hot-dog-guy-oakland-coliseum-hella-hungry\">Hal the Hot Dog Guy\u003c/a> — were in attendance to show support.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The team will participate in the 84-year-old Pioneer Baseball League, an independent minor league system with 12 franchises scattered throughout the Mountain Time Zone. Oakland will become the league’s first coastal expansion, with \u003ca href=\"https://oaklandside.org/2023/11/28/new-baseball-team-oakland-ballers-pioneer-league/\">the team making a multi-million dollar swing to play at Laney’s baseball field next season.\u003c/a>\u003c/p>\n\u003cp>To some critics, simply choosing the next letter in the alphabet may seem like a lackadaisical effort to cover up an A’s-shaped hole left in Oakland. But those familiar with minor league baseball will know that it’s in line with the inventive — if not satirical — nature of lower-league teams, which are traditionally far less concerned with the status quo (ever heard of the \u003ca href=\"https://www.milb.com/montgomery\">Montgomery Biscuits\u003c/a> or \u003ca href=\"https://www.milb.com/rocket-city\">Rocket City Trash Pandas\u003c/a>?).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, the B’s are no joke — and neither is their branding. The team’s logo was designed by \u003ca href=\"https://www.instagram.com/dustinocanalin/?hl=en\">Dustin O. Canalin\u003c/a>, who led Nike’s development team for “The Town” jerseys worn in the Golden State Warriors’ final seasons in Oakland. He also designed \u003ca href=\"https://alwaystrophyhunting.com/blogs/lookbooks/stephen-curry-2974-counting-hat\">the hat Steph Curry \u003c/a>wore after breaking the NBA’s three-point point record in 2021, and illustrated \u003ca href=\"https://www.dustinocanalin.com/blogbydoc/tag/Draymond+Green\">Draymond Green’s T-shirt \u003c/a>for the Warriors championship parade in 2022.\u003c/p>\n\u003cfigure id=\"attachment_13938725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938725\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0004-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dustin O. Canalin’s mood board for the Oakland Ballers includes sports history, local figures and aesthetic inspiration for old English fonts. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Canalin’s no rookie when it comes to baseball. He grew up near the Oakland Coliseum, playing shortstop on his high school team, where he befriended eventual MLB stars Dontrelle Willis and Jimmy Rollins. It’s also the sport that inspired his career as \u003ca href=\"https://alwaystrophyhunting.com/\">a current streetwear designer\u003c/a>.\u003c/p>\n\u003cp>The Ballers’ creative director spoke with KQED Arts about his inspiration for the team’s aesthetic, Oakland’s storied past and the East Bay’s abundance of hustling.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Did you listen to Too $hort’s song “Baller” when you were brainstorming ideas for this logo? What does being a baller mean to you?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Dustin O. Canalin\u003c/strong>: Being a “baller” has a lot of connotations and symbolism … and it really fit with Oakland as a culture and community, and what I grew up on. I scoured for songs, words and meanings of baller and player. So Too $hort definitely came up. There’s always a connection between sports and music in Oakland.\u003c/p>\n\u003cp>\u003cb>The B’s is very similar to the A’s. How intentional was that? Is it meant as a diss?\u003c/b>\u003c/p>\n\u003cp>The main idea was the B’s from the start. Any slights to the A’s kind of developed while digging more deeply into the creative side of it all. Something we didn’t want to do was a bootleg version of the A’s. In the Bay, there’s a lot of hometown pride where designers will make their own versions of something. We are building off heritage, identity … remembering the past and making sure we’re respectful. But we’re also making something new. From a design process, we started with a blank piece of paper.\u003c/p>\n\u003cfigure id=\"attachment_13938780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg\" alt=\"a green baseball cap with an emblazoned B in old English lettering\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1536x869.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/BsHat_BYDOC.jpg 1978w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Ballers will be known as the B’s, and hope to debut at Laney College Baseball Field in 2024. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How would you describe the voice and tone of the final product?\u003c/b>\u003c/p>\n\u003cp>We thought about the culture of Oakland, the fans, the feeling and impact we wanted to have, and then we boiled it down to what we ended up building around: a real cultural confidence. When you look at people who come from the Bay — whether it’s $hort, the Raiders, Bruce Lee, Damian Lillard, Mistah F.A.B. — they all have a certain DNA built into their personality. It’s a type of person with confidence.\u003c/p>\n\u003cp>\u003cb>When it comes to Oakland baseball, most fans will immediately think of the A’s. Did the forgotten legacies of other teams — like the Oakland Oaks, Larks and Commuters — come into play?\u003c/b>\u003c/p>\n\u003cp>I wanted to understand the lifespan of sports in Oakland. I looked at everyone — the Oaks, Invaders, Warriors, when the A’s arrived, why the Oaks left. What I realized is that besides the Raiders, Invaders and Oaks, all those other teams were inherited by Oakland. They weren’t created here. The A’s and Warriors came from Kansas City and Philadelphia. They already had those names. So as far as this century goes, the Ballers and Roots are the only teams that have built their own identity on what Oakland is today.\u003c/p>\n\u003cp>\u003cb>One of your original logo ideas included a power fist clenching a baseball, which reminded me of Black Panther Party imagery. What other ideas did you sift through? \u003c/b>\u003c/p>\n\u003cp>At first we looked at a diamond, the idea of a jewel, and we wanted to create an idea around stadiums as this diamond or medallion for a community. But it was too abstract. We also wanted to build off Oakland’s legacy [with] the Black Panthers. I’ve always thought their identity represented so much, and the language that was used throughout that generation has always been really powerful to me. But it’s not exactly what a sports team would need.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I worked on the Town uniform [for the Warriors], I kept seeing images from my memories and research of Old English fonts — from the \u003cem>Oakland Tribune\u003c/em> to the older teams like the Larks, even the bootleg T-shirts on East 14th. It’s iconic. That’s the direction that hit home for us. Having the home plate built into the letter was strategic. Oakland is home; this team is home. That shape was a touch to give this its own personality. We also didn’t want it to be overly obvious and overpowering. It’s subtle. Like they say, “It’s in you, not on you.”\u003c/p>\n\u003cp>\u003cb>What challenges did you face in creating a new logo for Oakland?\u003c/b>\u003c/p>\n\u003cp>First and foremost, I knew the team wanted to represent something good for the community, especially with the A’s transitioning out. So I wanted to make sure the team’s identity didn’t overpower that goodness. The logo represents that goodness in Oakland. It’s a silent ambassador of the brand and city.\u003c/p>\n\u003cp>And it should look cool. A’s hats are a staple in fashion. I took that challenge to develop a new hat, a new signature for the city, and to make it cool. The letter isn’t styled perfectly. It has an edge. That’s on a designer nerd tip. That look helps it to embody everything we wanted.\u003c/p>\n\u003cfigure id=\"attachment_13938724\" class=\"wp-caption alignnone\" style=\"max-width: 2475px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg\" alt=\"a designer's mood board for the Oakland Ballers, a new minor league baseball team inspired by local iconography\" width=\"2475\" height=\"2475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003.jpg 2475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Ballers_IG_moodboard_slides_0003-1920x1920.jpg 1920w\" sizes=\"(max-width: 2475px) 100vw, 2475px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Ballers are only the second professional team to be birthed in Oakland since 2000. \u003ccite>(Courtesy of Dustin O. Canalin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Minor league baseball can be very tongue-in-cheek. Did you find any inspiration in the humor of the minors?\u003c/b>\u003c/p>\n\u003cp>Baseball has always been my favorite sport, from a design perspective. It’s from a time of everything being hand-drawn, hand-embroidered, not computer-generated like everything is today. So I’m inspired by that essence of baseball and old minor league logos.\u003c/p>\n\u003cp>But being from the Bay, we’re not a joke. These uniforms, we want them to be ready for battle, not to be walking billboards or clowns. There’s a feeling of seriousness in being from Oakland. Look at the Raiders and Warriors. There’s no joke there. I think for this uniform we just wanted to make something ill. We darkened the colors to create a dark, deep green. It’s inspired by overcast weather, that toughness and darkness.\u003c/p>\n\u003cp>\u003cb>What’s your hope for the Oakland Ballers?\u003c/b>\u003c/p>\n\u003cp>We’re not building anything that doesn’t already exist. The community is already there — we just needed a logo for it. I’ve gone to so many A’s games and barely watched the actual game. It’s about the experiences, the people, the tailgating, eating, hanging out. With pro baseball leaving Oakland … this team will be there for that now, to represent that. It’s one of those things that is happening quick, but the community is what will sustain it. Everything we’re doing is just providing the tools to go out and rep Oakland. It’s a lifestyle.\u003c/p>\n\u003cp>\u003cb>Why should Oakland’s sports fans, who have been through so much in recent years, give this upstart franchise a chance?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With this team, they’re really listening. This is not being managed by one person or a corporation, it’s built within the community, for the community. If you have a problem with it, your voice can get heard. There’s a permanent seat here for you. The experience will only be as good as the people make it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-fashion-locals-impeccable-style",
"title": "5 Bay Area Locals With Impeccable Style",
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"content": "\u003cp>The Bay Area doesn’t have a formal fashion scene, but it’s not hard to find people who know the difference between throwing on clothes and putting together a thoughtful, self-expressive look — and we all know impeccable style when we see it.\u003c/p>\n\u003cp>While Aritzia and Patagonia still color many of our streets’ lackluster shades of predictable, these five Bay Area locals dress with a point of view. Here are their looks, how they describe their approaches to self-presentation and their thoughts on style in a region that’s so often dismissed as lacking any.\u003c/p>\n\u003cfigure id=\"attachment_13938558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg\" alt=\"Diptych of a full-body shot of woman in red top and layered pants/skirt and close-up of ornate nails\" width=\"1920\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-800x359.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1020x458.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-768x345.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1536x690.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell wears pants designed by Graham Payton (@sterrepeyton), a shirt and skirt by Maya Avery (@insigniamsa), nails by @nailsby_saby, Savage X Fenty gloves, and a Gucci bag. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jenay Hatchell, 23: ‘Bold, Versatile & Authentic’\u003c/h2>\n\u003cp>Art and politics are inextricable, says Jenay Hatchell, who wears black, red, green and white in homage to the Palestinian flag and the pan-African flag.\u003c/p>\n\u003cp>“Right now I’ve just been thinking heavily about how the struggles of Black and Brown kids in Oakland are tied to the struggles of people everywhere,” Hatchell says, “especially the struggles of Palestinian children and the struggles of children in the Congo and Sudan.”\u003c/p>\n\u003cp>A culture of making is a big part of Bay Area style for Hatchell, who also proudly wears jewelry and clothing made by friends and friends of friends. Clothes are a rich dimension for self-expression, including remembrance, says Hatchell, who wears an A’s hat adorned with the number 9 to commemorate her friend Justin Ross who passed earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13938530\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg\" alt=\"Black woman in black A's cap and red top stands among trees\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell in Joaquin Miller Park. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lifelong East Oaklander has noticed that some Bay Area residents conflate cool with money.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Bay Area style at its worst is this flexing culture of just throwing together a whole bunch of expensive brands to look cool, but not putting any thought into what you’re actually wearing,” Hatchell says.\u003c/p>\n\u003cp>Bay Area style at its best, though, happens when people dress themselves with care and creativity, not necessarily with big price tags, she says.\u003c/p>\n\u003cp>“People wear things differently than you might expect, like mixing patterns, a lot of bright colors, jewelry — and not necessarily jewelry that’s super flashy,” she explains. “We make street fashion and comfortable fashion very unique to the point where it kind of looks like we’re dressed up.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>red tank by Maya Avery, knit skirt by Maya Avery, Savage X Fenty fingerless gloves, hand-painted jeans by Graham Peyton with graphic line work, A’s hat, silver chains outfitted by Hatchell with a red earring from dipsandcoils, wire bracelet with pearls, wire coil bracelet, watch gifted to Hatchell by her mom, silver hoops by Urban Outfitters.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg\" alt=\"Asian woman in sunglasses, embroidered hat and bat-shaped earrings smiles in profile\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong poses for a portrait in her backyard in San Francisco on Oct. 26, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terri Wong, 68: ‘Colorful, Eclectic & Asian’\u003c/h2>\n\u003cp>For vintage heads who like to reinvent older pieces, Terri Wong is a sort of virtuosa whose main complaint about Bay Area style is a lack of color — a deficiency she makes up for in her own ensembles. The former opera singer pairs vibrant vintage textiles that reflect her Chinese heritage with contemporary pleated garments and accessories.\u003c/p>\n\u003cp>“My sense of style is 80% vintage and maybe 20% contemporary,” Wong says. “I learned from my grandmother — she was a phenomenal seamstress.”\u003c/p>\n\u003cp>A bright side of regional style for Wong is an unapologetic sense of individuality among those folks who do lean into dressing up, which she embodies wholeheartedly.\u003c/p>\n\u003cfigure id=\"attachment_13938536\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg\" alt=\"Asian woman in fuchsia flowered hat holds parasol and smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong near her home in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s outfits are elaborate and whimsical — and they’re not meant to impress anyone, she says. Her vintage collection, though, is impressive in and of itself, which includes 200 ornate children’s hats.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>capelet knitted by Wong, Issey Miyake cobalt blue top, Ann Taylor pants, jade bangles, bat earrings, and an antique child’s hat with bat details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938540\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg\" alt=\"Diptych with full-body shot of young woman and close-up of French-tip nails.\" width=\"1920\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1020x460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1536x693.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland on Nov. 9, 2023. Right: Esteva shows her nails and jewelry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Namixtu’lú’ Esteva, 19: ‘Balanced, Unique & Playful’\u003c/h2>\n\u003cp>Namixtu’lú’ Esteva’s style is constantly evolving and shifting between conventional ideas of femininity and masculinity, she says. Esteva also credits her godmothers — in true godmotherly fashion — for helping her elevate and root her looks in her Native identity.\u003c/p>\n\u003cp>“[I’m] definitely influenced by my Indigenous culture,” Esteva says. “So a lot of the jewelry or things I accessorize with I grew up wearing from Oaxaca or from other parts of Mexico.”\u003c/p>\n\u003cp>Esteva leans towards baggier clothes on the spectrum of silhouettes and cites a pair of overalls as one of her most beloved items; they’re comfortable and go with everything. And her favorite part of Bay Area style is the influence of Black and Brown Bay Area culture.\u003c/p>\n\u003cfigure id=\"attachment_13938543\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg\" alt=\"Young woman with green feathers in hair and hoop earrings smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s like streetwear, but also cultural streetwear and things that embody hyphy like Mac Dre and Too Short,” she says.\u003c/p>\n\u003cp>Esteva especially loves the dialogue around wardrobes in the Bay and how willing people are to give each other advice on how to dress and where to get clothes.\u003c/p>\n\u003cp>The flipside of that is something Esteva doesn’t care for, which is gatekeeping: when people are secretive about where they find good deals and cool looks.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>ceremonial macaw feathers, black tank top, flared blue jeans, floral Native scarf worn as a belt, black Adidas sneakers with snake charms, gold bamboo hoops, gold bracelet, French tip acrylic nails, Tonantzin/Virgen de Guadalupe arm tattoo, nameplate necklace, Virgen de Guadalupe necklace.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg\" alt=\"Older Black man leans against post in patterned vest over button-down shirt and tie\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Holbert stands in the doorway of his home in Berkeley on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Raymond Holbert, 78: ‘Collage, Seasonal & Experience’\u003c/h2>\n\u003cp>Raymond Holbert is a “die-hard” for dyeing his own clothes. The Berkeley resident makes batches of coral, mint or robin-egg blue dyes to transform white garments he finds all over the Bay Area.\u003c/p>\n\u003cp>In his playful yet classic silhouettes, the fashion photographer says he finds harmony. And a big part of that is feeling good in what you wear no matter your age or sensibility.\u003c/p>\n\u003cp>“You can see them come together as you dress,” he says of his approach to combining elements. “It’s like an arts store or a buffet of sorts.”\u003c/p>\n\u003cfigure id=\"attachment_13938547\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg\" alt=\"\" width=\"1920\" height=\"879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-800x366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1020x467.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1536x703.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Raymond Holbert stands in his backyard in Berkeley on Nov. 3, 2023. Right: Holbert holds a tie he sewed buttons onto. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area weather never gets cold enough to wear his beloved outerwear, though, Holbert laments.\u003c/p>\n\u003cp>On style broadly, Holbert celebrates the expansiveness of how different people dress themselves in a way that transcends gender too.\u003c/p>\n\u003cp>“What I liked about style in the Bay Area is that you’re encouraged by that mixture — one of the greatest mixtures [of people] I’ve ever seen in my life,” he says. “It’s like an open market for everyone.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>moon-faced stud earrings, Marine dress shirt, chocolate-colored tie with buttons sewn on by Holbert, black Yves Saint Laurent vest in a multicolored frog print, lime green corduroy pants, avocado socks and two-tone dress shoes.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg\" alt=\"Person with short dark hair stands with one foot raised and arms out to show off skirts and jacket, smiling looking down\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai poses for a portrait in the Mission District in San Francisco on Nov. 7, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jason Mai, 28: ‘Slow, Intentional & Personal’\u003c/h2>\n\u003cp>Jason Mai thinks a lot about what ethical clothing really means. Their critique of style in the Bay lands on corporate babble about ethics and sustainability that don’t ultimately hold water for Mai. They call this pitfall “the culture of conscious capitalism.”\u003c/p>\n\u003cp>“I’m thinking about these SF fashion companies like Everlane, Rothy’s, Reformation, Stitch Fix — all those companies that co-opt radical language like transparency, ethics,” they say.\u003c/p>\n\u003cp>So Mai makes a point to be deliberate in how they dress, considering versatility and sustainability when they shop, but also how true brands actually are to their professed values.\u003c/p>\n\u003cp>Visually, Mai’s sense of style is “all over the map,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13938553\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg\" alt=\"Legs-down shot of layers of gray, black and gray skirts with white socks and black loafters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai with three layers of skirts in the Mission District in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can be preppy one day, all black and avant garde the other day, or in a hoodie and T-shirt the next,” they laugh.\u003c/p>\n\u003cp>Mai’s style depends on their mood at any given moment, but a highlight of their look is a glorious feast of textures — layers of pleats, folds and ruffles.\u003c/p>\n\u003cp>“I’m referencing my own history, my own memories and my own experience,” Mai says. “And I like to dabble in different aesthetics.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>silk blend blazer by Jil Sander, white button-down, black tie, brown and black plaid miniskirt, taffeta blend skirt with a bubble hem, checkered skirt with ruffles, white tube socks, black loafers, silver flower earrings, ring by Soft Good studio inscribed with Mai’s last name. \u003c/i>\u003c/p>\n\n",
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"excerpt": "We hear from an intergenerational mix of people on the best aspects of Bay Area style — and the worst.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area doesn’t have a formal fashion scene, but it’s not hard to find people who know the difference between throwing on clothes and putting together a thoughtful, self-expressive look — and we all know impeccable style when we see it.\u003c/p>\n\u003cp>While Aritzia and Patagonia still color many of our streets’ lackluster shades of predictable, these five Bay Area locals dress with a point of view. Here are their looks, how they describe their approaches to self-presentation and their thoughts on style in a region that’s so often dismissed as lacking any.\u003c/p>\n\u003cfigure id=\"attachment_13938558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg\" alt=\"Diptych of a full-body shot of woman in red top and layered pants/skirt and close-up of ornate nails\" width=\"1920\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-800x359.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1020x458.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-768x345.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-20-BL-1536x690.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell wears pants designed by Graham Payton (@sterrepeyton), a shirt and skirt by Maya Avery (@insigniamsa), nails by @nailsby_saby, Savage X Fenty gloves, and a Gucci bag. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jenay Hatchell, 23: ‘Bold, Versatile & Authentic’\u003c/h2>\n\u003cp>Art and politics are inextricable, says Jenay Hatchell, who wears black, red, green and white in homage to the Palestinian flag and the pan-African flag.\u003c/p>\n\u003cp>“Right now I’ve just been thinking heavily about how the struggles of Black and Brown kids in Oakland are tied to the struggles of people everywhere,” Hatchell says, “especially the struggles of Palestinian children and the struggles of children in the Congo and Sudan.”\u003c/p>\n\u003cp>A culture of making is a big part of Bay Area style for Hatchell, who also proudly wears jewelry and clothing made by friends and friends of friends. Clothes are a rich dimension for self-expression, including remembrance, says Hatchell, who wears an A’s hat adorned with the number 9 to commemorate her friend Justin Ross who passed earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13938530\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg\" alt=\"Black woman in black A's cap and red top stands among trees\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231104-ImpeccableStyleJenay-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jenay Hatchell in Joaquin Miller Park. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the lifelong East Oaklander has noticed that some Bay Area residents conflate cool with money.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Bay Area style at its worst is this flexing culture of just throwing together a whole bunch of expensive brands to look cool, but not putting any thought into what you’re actually wearing,” Hatchell says.\u003c/p>\n\u003cp>Bay Area style at its best, though, happens when people dress themselves with care and creativity, not necessarily with big price tags, she says.\u003c/p>\n\u003cp>“People wear things differently than you might expect, like mixing patterns, a lot of bright colors, jewelry — and not necessarily jewelry that’s super flashy,” she explains. “We make street fashion and comfortable fashion very unique to the point where it kind of looks like we’re dressed up.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>red tank by Maya Avery, knit skirt by Maya Avery, Savage X Fenty fingerless gloves, hand-painted jeans by Graham Peyton with graphic line work, A’s hat, silver chains outfitted by Hatchell with a red earring from dipsandcoils, wire bracelet with pearls, wire coil bracelet, watch gifted to Hatchell by her mom, silver hoops by Urban Outfitters.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg\" alt=\"Asian woman in sunglasses, embroidered hat and bat-shaped earrings smiles in profile\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-26-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong poses for a portrait in her backyard in San Francisco on Oct. 26, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Terri Wong, 68: ‘Colorful, Eclectic & Asian’\u003c/h2>\n\u003cp>For vintage heads who like to reinvent older pieces, Terri Wong is a sort of virtuosa whose main complaint about Bay Area style is a lack of color — a deficiency she makes up for in her own ensembles. The former opera singer pairs vibrant vintage textiles that reflect her Chinese heritage with contemporary pleated garments and accessories.\u003c/p>\n\u003cp>“My sense of style is 80% vintage and maybe 20% contemporary,” Wong says. “I learned from my grandmother — she was a phenomenal seamstress.”\u003c/p>\n\u003cp>A bright side of regional style for Wong is an unapologetic sense of individuality among those folks who do lean into dressing up, which she embodies wholeheartedly.\u003c/p>\n\u003cfigure id=\"attachment_13938536\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg\" alt=\"Asian woman in fuchsia flowered hat holds parasol and smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231026-ImpeccableStyleTerri-18-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Terri Wong near her home in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wong’s outfits are elaborate and whimsical — and they’re not meant to impress anyone, she says. Her vintage collection, though, is impressive in and of itself, which includes 200 ornate children’s hats.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>capelet knitted by Wong, Issey Miyake cobalt blue top, Ann Taylor pants, jade bangles, bat earrings, and an antique child’s hat with bat details.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938540\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg\" alt=\"Diptych with full-body shot of young woman and close-up of French-tip nails.\" width=\"1920\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-800x361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1020x460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-768x346.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-05-BL-qut-1536x693.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland on Nov. 9, 2023. Right: Esteva shows her nails and jewelry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Namixtu’lú’ Esteva, 19: ‘Balanced, Unique & Playful’\u003c/h2>\n\u003cp>Namixtu’lú’ Esteva’s style is constantly evolving and shifting between conventional ideas of femininity and masculinity, she says. Esteva also credits her godmothers — in true godmotherly fashion — for helping her elevate and root her looks in her Native identity.\u003c/p>\n\u003cp>“[I’m] definitely influenced by my Indigenous culture,” Esteva says. “So a lot of the jewelry or things I accessorize with I grew up wearing from Oaxaca or from other parts of Mexico.”\u003c/p>\n\u003cp>Esteva leans towards baggier clothes on the spectrum of silhouettes and cites a pair of overalls as one of her most beloved items; they’re comfortable and go with everything. And her favorite part of Bay Area style is the influence of Black and Brown Bay Area culture.\u003c/p>\n\u003cfigure id=\"attachment_13938543\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg\" alt=\"Young woman with green feathers in hair and hoop earrings smiles\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231109-ImpeccableStyleNamixtulu-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Namixtu’lú’ Esteva poses for a portrait in her backyard in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s like streetwear, but also cultural streetwear and things that embody hyphy like Mac Dre and Too Short,” she says.\u003c/p>\n\u003cp>Esteva especially loves the dialogue around wardrobes in the Bay and how willing people are to give each other advice on how to dress and where to get clothes.\u003c/p>\n\u003cp>The flipside of that is something Esteva doesn’t care for, which is gatekeeping: when people are secretive about where they find good deals and cool looks.\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>ceremonial macaw feathers, black tank top, flared blue jeans, floral Native scarf worn as a belt, black Adidas sneakers with snake charms, gold bamboo hoops, gold bracelet, French tip acrylic nails, Tonantzin/Virgen de Guadalupe arm tattoo, nameplate necklace, Virgen de Guadalupe necklace.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg\" alt=\"Older Black man leans against post in patterned vest over button-down shirt and tie\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-07-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raymond Holbert stands in the doorway of his home in Berkeley on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Raymond Holbert, 78: ‘Collage, Seasonal & Experience’\u003c/h2>\n\u003cp>Raymond Holbert is a “die-hard” for dyeing his own clothes. The Berkeley resident makes batches of coral, mint or robin-egg blue dyes to transform white garments he finds all over the Bay Area.\u003c/p>\n\u003cp>In his playful yet classic silhouettes, the fashion photographer says he finds harmony. And a big part of that is feeling good in what you wear no matter your age or sensibility.\u003c/p>\n\u003cp>“You can see them come together as you dress,” he says of his approach to combining elements. “It’s like an arts store or a buffet of sorts.”\u003c/p>\n\u003cfigure id=\"attachment_13938547\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg\" alt=\"\" width=\"1920\" height=\"879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-800x366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1020x467.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-ImpeccableStyleRaymond-17-BL-1536x703.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Raymond Holbert stands in his backyard in Berkeley on Nov. 3, 2023. Right: Holbert holds a tie he sewed buttons onto. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area weather never gets cold enough to wear his beloved outerwear, though, Holbert laments.\u003c/p>\n\u003cp>On style broadly, Holbert celebrates the expansiveness of how different people dress themselves in a way that transcends gender too.\u003c/p>\n\u003cp>“What I liked about style in the Bay Area is that you’re encouraged by that mixture — one of the greatest mixtures [of people] I’ve ever seen in my life,” he says. “It’s like an open market for everyone.”\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>moon-faced stud earrings, Marine dress shirt, chocolate-colored tie with buttons sewn on by Holbert, black Yves Saint Laurent vest in a multicolored frog print, lime green corduroy pants, avocado socks and two-tone dress shoes.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13938551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg\" alt=\"Person with short dark hair stands with one foot raised and arms out to show off skirts and jacket, smiling looking down\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-04-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai poses for a portrait in the Mission District in San Francisco on Nov. 7, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jason Mai, 28: ‘Slow, Intentional & Personal’\u003c/h2>\n\u003cp>Jason Mai thinks a lot about what ethical clothing really means. Their critique of style in the Bay lands on corporate babble about ethics and sustainability that don’t ultimately hold water for Mai. They call this pitfall “the culture of conscious capitalism.”\u003c/p>\n\u003cp>“I’m thinking about these SF fashion companies like Everlane, Rothy’s, Reformation, Stitch Fix — all those companies that co-opt radical language like transparency, ethics,” they say.\u003c/p>\n\u003cp>So Mai makes a point to be deliberate in how they dress, considering versatility and sustainability when they shop, but also how true brands actually are to their professed values.\u003c/p>\n\u003cp>Visually, Mai’s sense of style is “all over the map,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13938553\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg\" alt=\"Legs-down shot of layers of gray, black and gray skirts with white socks and black loafters\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231107-ImpeccableStyleJason-03-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mai with three layers of skirts in the Mission District in San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can be preppy one day, all black and avant garde the other day, or in a hoodie and T-shirt the next,” they laugh.\u003c/p>\n\u003cp>Mai’s style depends on their mood at any given moment, but a highlight of their look is a glorious feast of textures — layers of pleats, folds and ruffles.\u003c/p>\n\u003cp>“I’m referencing my own history, my own memories and my own experience,” Mai says. “And I like to dabble in different aesthetics.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The details:\u003c/b> \u003ci>silk blend blazer by Jil Sander, white button-down, black tie, brown and black plaid miniskirt, taffeta blend skirt with a bubble hem, checkered skirt with ruffles, white tube socks, black loafers, silver flower earrings, ring by Soft Good studio inscribed with Mai’s last name. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jubo-iguanas-filipino-burrito-juborrito-collaboration-san-jose",
"title": "Spam and Garlic Tots in Your Burrito? These San Jose Brothers Are Starting the Trend",
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"headTitle": "Spam and Garlic Tots in Your Burrito? These San Jose Brothers Are Starting the Trend | KQED",
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"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a fresh energy bubbling in \u003c/span>\u003ca href=\"https://www.kqed.org/sanjosefood\">\u003cspan style=\"font-weight: 400\">San Jose\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Though some might assume Silicon Valley’s capital lacks the cosmopolitan grandeur of San Francisco or the bohemian flair of the East Bay, I implore you to spend an evening on foot in the sprawling downtown. You won’t find any true epicenter. Instead, you’ll encounter scattershot offerings of reinvigorated creativity: a \u003c/span>\u003ca href=\"https://www.instagram.com/goodtimebarsj/?hl=en\">\u003cspan style=\"font-weight: 400\">natural wine haven\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a \u003c/span>\u003ca href=\"https://www.instagram.com/sliceofhomage/?hl=en\">\u003cspan style=\"font-weight: 400\">nightlife-fueled pizzeria\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a \u003c/span>\u003ca href=\"https://www.instagram.com/conazucarcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Mexican cafe that serves the largest pan dulce\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> you’ll ever try to cram into your not-wide-enough mouth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Forget about Google, Facebook, Tesla and Apple. I’m talking about the real creators — lifelong community members, musicians, immigrants, clothing makers and small business owners who carefully alchemize the soulful ingredients of their home to provide a delicious, shareable experience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For streetwear label \u003c/span>\u003ca href=\"https://www.instagram.com/juboclothing/\">\u003cspan style=\"font-weight: 400\">Jubo Clothing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and the zany, family-owned taqueria, \u003c/span>\u003ca href=\"https://www.instagram.com/iguanasburritozilla/\">\u003cspan style=\"font-weight: 400\">Iguanas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the recipe is as simple as remixing a California classic. It’s called the Juborrito, a limited-time item on a menu that has been feeding hungry San Jose State students since 1994. The gold-wrapped burrito — stuffed with Spam, garlic tots, scrambled eggs, cheese and Zilla Sauce (a housemade concoction of orange-hued spiciness) — is surprisingly fluffy to the bite and jam-packed with memories of childhood comfort. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For an extra kick, customers who purchase the burrito can also buy a custom shirt designed by Jubo’s Nemedez brothers (Jason, 30; Averill, 27; Brian, 22). Their effort is a subtle homage to classic San Jose streetwear brands like \u003c/span>\u003ca href=\"https://www.instagram.com/breezyexcursion/\">\u003cspan style=\"font-weight: 400\">Breezy Excursion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which used to host T-shirt giveaways at Iguanas when they were growing up.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936648\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936648 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_taters.jpg\" alt=\"inside a taqueria's kitchen, four burritos are being prepared with tater tots as a prominent ingredient\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Juborritos” (which feature garlic tater tots and Spam) are prepared inside Iguanas in San Jose.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To learn about the 408’s subcultural depths, I kicked it with the first-generation Filipino trendsetting brothers, who pulled up a chair for me to eat at their table. With burritos binding us all together, we reflected on what it means to be from a place that isn’t always embraced.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Iguanas is the home of the famed \u003c/b>\u003ca href=\"https://youtu.be/7SDU7-4VBfY\">\u003cb>“Burritozilla” — a five-pound, 18-inch burrito\u003c/b>\u003c/a>\u003cb>. Your burrito, the Juborrito, isn’t as epic in scale, but it’s a fresh take on your Filipino upbringing. How did the idea for your burrito collab come about?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason Nemedez:\u003c/b>\u003cspan style=\"font-weight: 400\"> We wanted to recreate a popular Filipino breakfast. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936649\" class=\"wp-caption alignright\" style=\"max-width: 1558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936649 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_poster-scaled.jpg\" alt='a Godzilla-themed poster shows a burrito named \"Juborrito\" inside a San Jose taqueria' width=\"1558\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-scaled.jpg 1558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-800x1315.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-1020x1676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-160x263.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-768x1262.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-935x1536.jpg 935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-1246x2048.jpg 1246w\" sizes=\"(max-width: 1558px) 100vw, 1558px\">\u003cfigcaption class=\"wp-caption-text\">A “Juborrito” poster inside Iguanas, a taqueria known for their massive “Burritozilla.” \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Averill Nemedez:\u003c/b>\u003cspan style=\"font-weight: 400\"> Garlic fried rice, eggs, Spam. Know what I’m saying? We used to eat that all the time.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s it. It’s like a breakfast burrito. But we’ll eat Spam anytime of the day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian Nemedez: \u003c/b>\u003cspan style=\"font-weight: 400\">This is our first time working with Iguanas. We would always come and line up for events here for free T-shirt Fridays. Get a burrito and steak fries. It was the spot to go to.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s also like, what other restaurant is doing cool shit like that? Iguanas has always been open to that. We grew up eating the food and coming to events here. We’re paying our dues. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> [San Jose rapper] \u003c/span>\u003ca href=\"https://www.instagram.com/reyresurreccion/\">\u003cspan style=\"font-weight: 400\">Rey Resurreccion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is how we actually got it rolling. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">He linked us up together. He was cool with the owner here. We’re just reaching new audiences, you know.\u003c/span>\u003c/p>\n\u003cp>\u003cb>I’ve never had Spam in a burrito. It’s definitely not common in Mexican cuisine. Was that even an option on the menu at Iguanas before this? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> Nah, we didn’t know we could even add an ingredient like that. They added it just for this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill:\u003c/b>\u003cspan style=\"font-weight: 400\"> It reminded us of, like, a \u003ca href=\"https://www.instagram.com/p/CGx0fcuBrzA/\">tosilog burrito\u003c/a>. The owners said we could do it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b>\u003cspan style=\"font-weight: 400\"> On the day of the debut event, they actually ran out of Spam. \u003c/span>\u003ca href=\"https://www.instagram.com/p/Cx1S--qyqIn/\">\u003cspan style=\"font-weight: 400\">The crowd was lined up all around the block\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It was crazy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>I’ve noticed a rise in popularity and demand for Filipino brands and foods lately, like ube. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s ube lattes now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">I think that’s cool, it gives more exposure to our culture. That’s sick. But we need to go a little bit deeper into it. Not just the basic stuff like adobo.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">Man, kare-kare [a peanut-sauce stew with oxtails].\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, kare-kare is fire. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re mostly known for your clothing. Where does your brand’s name, Jubo, come from? You started out by doing graffiti, right?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">I used to have another tagging\u003c/span> \u003cspan style=\"font-weight: 400\">name, but then I got caught. So my brother Averill gave me the name Jubo. I didn’t want to get caught again, so I transitioned into making T-shirts. We all used to draw back then, and then we would all sign it. My signature was always “Jubo.” When I started DJing, people would say, “Aye, Jubo, play that slap,” and that’s where I got that from. That leveled up to us designing and turning it all into a logo. It became a well-known name where we grew up. It just became its own thing.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936645\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936645 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_collab_swag.jpg\" alt=\"a San Jose artist showcases a shirt he designed for a local taqueria\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Averill Nemedez shows off his Iguanas and Juborrito collaborative T-shirt. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When did you start actually making T-shirts?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ve been into it since middle school. At first we made stencils using manila folders and an Exacto knife. Then I bought a screen printing press when I was in high school. Eventually Jubo became official in about 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a brand before that, back in high school. But it was a wack brand.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, no one has to know about that [laughs]. I just used Microsoft Word, which was hard, because it’s not meant for design.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">And Microsoft Paint. We just printed things out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">After high school,\u003c/span> \u003cspan style=\"font-weight: 400\">I took a few classes at Evergreen Valley College. The teacher pushed me to do more. She gave me my first art show. She taught me hella shit about mock-ups, the process. But then I went to San Jose State, and it felt completely different. They didn’t care about what I wanted to do. I was working at a car wrapping spot at the time, learning different things. I also worked at a custom print shop in the mall. So I dropped out. Having those design experiences, I was able to teach Averill and Brian what to do. Now those guys are better than me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has San Jose shaped your approach to clothing, fashion and community?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ve been here our whole lives. People from here are built different, you know? You gotta hustle and have multiple streams of income. You gotta figure out how to make it. My mom immigrated here from the Philippines and had three different hustles at once. She had a 9 to 5 and then she would sell blankets at night. She would sell fish and longaniza, too. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">Jewelry.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> Toys and shit. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Exactly. When we were younger, we’d go on drop-offs with her ’til midnight. Bruh, I used to hate it, but now we do drop-offs for our own products. Now I get it. She did that for us to be able to thrive out here.\u003c/span>\u003c/p>\n\u003cp>\u003cb> Besides family (shout out immigrant parents), who has influenced you to pursue your creative passions?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">E-40\u003c/a> did it out the trunk, independently. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, he’s basically a millionaire out the trunk. But for me, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">\u003cspan style=\"font-weight: 400\">[TDK] Dream\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> was a big influence. He was a Filipino dude doing graffiti. He did commercial shit, but he also had his own style. I realized there was something you could do with graffiti. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936644\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936644 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_back.jpg\" alt=\"three brothers stand with their backs to the camera inside a taqueria\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Nemedez brothers (Averill, right; Jason, center; Brian, left) oversee the making of “Juborritos” at Iguanas in San Jose. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What makes clothing your ideal medium for self-expression?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">Clothing is very personal. It’s about what’s comfortable to you. Nobody really has any say in what you choose to put on. It’s you. Other opinions don’t matter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s cool because it gives you an outlet to show who you are. We make shit inspired by what we like. Musical artists, cartoons, sports, movies we watched growing up. You can display it all without saying a word. Someone might see you and identify with you, they might be able to relate and connect off that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Before us, San Jose had a big renaissance in terms of streetwear and creative outlets. Breezy was a top brand. Cukui. Headliners. Holloway. They all came up together. And it came with the music at the time like Rey Res, City Shawn, The Bangerz, Cutso and them. And \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">\u003cspan style=\"font-weight: 400\">Traxamillion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, RIP. We actually made merch for him. In 2020 he had a Street Fighter album [\u003c/span>\u003ca href=\"https://open.spotify.com/album/4qpg7wKEQK4yaLrMvoRP4f\">\u003ci>\u003cspan style=\"font-weight: 400\">Super Beat Fighter\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">], and \u003c/span>\u003ca href=\"https://www.traxamillion.com/products/black-super-beat-fighter-slapp-edition-t-shirt\">\u003cspan style=\"font-weight: 400\">he asked me to give Ryu a durag instead of a headband\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. All that got us excited for designing clothes.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What do you think outsiders misunderstand or overlook about San Jose?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">The creative scene. We’re surrounded by all this technology, everyone just thinks of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13904835,arts_13920483,arts_13932574']\u003c/span>\u003c/strong>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">You have to be in it to know what’s going on. If you’re from the outside, you wouldn’t know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re also neighboring San Francisco and Oakland, which are more prominent. But San Jose for sure has its own style. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">We have a chip on our shoulder.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. I like to say I’m from San Jose and not the Bay Area. When I tell people I’m from the Bay they’re like, “So, San Francisco?” and I’m like, “Nah, that’s an hour away.” I think something that plays a part in that is we don’t really have any music venues here, so artists don’t really come out here unless they’re huge like Drake and can sell out the SAP Center. So a lot of people just skip over us.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936647\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936647 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_gold_cropped.jpg\" alt=\"a gold-foil wrapped burrito is displayed on an outdoor table\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The limited-edition “Juborrito” (which includes Spam, garlic tater tots, cheese, and egg) is inspired by classic Filipino breakfast meals.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So how is San Jose’s style different from other parts of the Bay?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Someone once told me that they think of San Jose more like L.A. rather than San Francisco or Oakland. Because we have hella lowriders. That’s huge here. That Chicano influence is fasho big out here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s kind of that vintage style, too. That workwear. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">And skate culture.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How are you keeping that San Jose style alive? Where can the people find you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b>\u003cspan style=\"font-weight: 400\"> We have a brick-and-mortar shop in Japantown. It’s called \u003c/span>\u003ca href=\"https://www.instagram.com/coldwater.sj/\">\u003cspan style=\"font-weight: 400\">Coldwater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s an ode to our grandma, who lived on Coldwater Drive, where we grew up. We each sell our own separate brands there, and Jubo Clothing is our team brand.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> My brand is \u003c/span>\u003ca href=\"https://www.instagram.com/madebyrila/\">\u003cspan style=\"font-weight: 400\">Made by Rila\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I do a lot of custom hats. Shirts. I did a skateboard recently.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mine is \u003c/span>\u003ca href=\"https://www.instagram.com/bigavegetpaid/\">\u003cspan style=\"font-weight: 400\">Big Ave Get Paid\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I make graphic designs on shirts. I want to try doing jackets in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b> \u003ca href=\"https://www.instagram.com/juboslaps/\">\u003cspan style=\"font-weight: 400\">Jubo Slaps\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is my personal brand. It’s all just a reflection of San Jose and our experiences growing up here.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The Juborrito will be served at all three \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/iguanasburritozilla/\">\u003ci>\u003cspan style=\"font-weight: 400\">Iguanas\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> locations (330 S. Third St., San Jose; 4848 San\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Felipe Rd., San Jose; 4300 Great America Pkwy., Santa Clara) through the end of November. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/coldwater.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Coldwater\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (205 Jackson St., San Jose) is open Thu. through Sun., from 12:30 to 5 p.m. (6 p.m. on weekends).\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "Iguanas and the Jubo streetwear brand team up for an epic Filipino-Mexican collaboration.",
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"title": "San Jose's Jubo and Iguanas Create a Mexican-Filipino Burrito | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a fresh energy bubbling in \u003c/span>\u003ca href=\"https://www.kqed.org/sanjosefood\">\u003cspan style=\"font-weight: 400\">San Jose\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Though some might assume Silicon Valley’s capital lacks the cosmopolitan grandeur of San Francisco or the bohemian flair of the East Bay, I implore you to spend an evening on foot in the sprawling downtown. You won’t find any true epicenter. Instead, you’ll encounter scattershot offerings of reinvigorated creativity: a \u003c/span>\u003ca href=\"https://www.instagram.com/goodtimebarsj/?hl=en\">\u003cspan style=\"font-weight: 400\">natural wine haven\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a \u003c/span>\u003ca href=\"https://www.instagram.com/sliceofhomage/?hl=en\">\u003cspan style=\"font-weight: 400\">nightlife-fueled pizzeria\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a \u003c/span>\u003ca href=\"https://www.instagram.com/conazucarcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Mexican cafe that serves the largest pan dulce\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> you’ll ever try to cram into your not-wide-enough mouth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Forget about Google, Facebook, Tesla and Apple. I’m talking about the real creators — lifelong community members, musicians, immigrants, clothing makers and small business owners who carefully alchemize the soulful ingredients of their home to provide a delicious, shareable experience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For streetwear label \u003c/span>\u003ca href=\"https://www.instagram.com/juboclothing/\">\u003cspan style=\"font-weight: 400\">Jubo Clothing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and the zany, family-owned taqueria, \u003c/span>\u003ca href=\"https://www.instagram.com/iguanasburritozilla/\">\u003cspan style=\"font-weight: 400\">Iguanas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the recipe is as simple as remixing a California classic. It’s called the Juborrito, a limited-time item on a menu that has been feeding hungry San Jose State students since 1994. The gold-wrapped burrito — stuffed with Spam, garlic tots, scrambled eggs, cheese and Zilla Sauce (a housemade concoction of orange-hued spiciness) — is surprisingly fluffy to the bite and jam-packed with memories of childhood comfort. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For an extra kick, customers who purchase the burrito can also buy a custom shirt designed by Jubo’s Nemedez brothers (Jason, 30; Averill, 27; Brian, 22). Their effort is a subtle homage to classic San Jose streetwear brands like \u003c/span>\u003ca href=\"https://www.instagram.com/breezyexcursion/\">\u003cspan style=\"font-weight: 400\">Breezy Excursion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which used to host T-shirt giveaways at Iguanas when they were growing up.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936648\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936648 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_taters.jpg\" alt=\"inside a taqueria's kitchen, four burritos are being prepared with tater tots as a prominent ingredient\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_taters-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Juborritos” (which feature garlic tater tots and Spam) are prepared inside Iguanas in San Jose.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To learn about the 408’s subcultural depths, I kicked it with the first-generation Filipino trendsetting brothers, who pulled up a chair for me to eat at their table. With burritos binding us all together, we reflected on what it means to be from a place that isn’t always embraced.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: Iguanas is the home of the famed \u003c/b>\u003ca href=\"https://youtu.be/7SDU7-4VBfY\">\u003cb>“Burritozilla” — a five-pound, 18-inch burrito\u003c/b>\u003c/a>\u003cb>. Your burrito, the Juborrito, isn’t as epic in scale, but it’s a fresh take on your Filipino upbringing. How did the idea for your burrito collab come about?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason Nemedez:\u003c/b>\u003cspan style=\"font-weight: 400\"> We wanted to recreate a popular Filipino breakfast. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936649\" class=\"wp-caption alignright\" style=\"max-width: 1558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936649 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_poster-scaled.jpg\" alt='a Godzilla-themed poster shows a burrito named \"Juborrito\" inside a San Jose taqueria' width=\"1558\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-scaled.jpg 1558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-800x1315.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-1020x1676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-160x263.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-768x1262.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-935x1536.jpg 935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_poster-1246x2048.jpg 1246w\" sizes=\"(max-width: 1558px) 100vw, 1558px\">\u003cfigcaption class=\"wp-caption-text\">A “Juborrito” poster inside Iguanas, a taqueria known for their massive “Burritozilla.” \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Averill Nemedez:\u003c/b>\u003cspan style=\"font-weight: 400\"> Garlic fried rice, eggs, Spam. Know what I’m saying? We used to eat that all the time.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s it. It’s like a breakfast burrito. But we’ll eat Spam anytime of the day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian Nemedez: \u003c/b>\u003cspan style=\"font-weight: 400\">This is our first time working with Iguanas. We would always come and line up for events here for free T-shirt Fridays. Get a burrito and steak fries. It was the spot to go to.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s also like, what other restaurant is doing cool shit like that? Iguanas has always been open to that. We grew up eating the food and coming to events here. We’re paying our dues. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> [San Jose rapper] \u003c/span>\u003ca href=\"https://www.instagram.com/reyresurreccion/\">\u003cspan style=\"font-weight: 400\">Rey Resurreccion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is how we actually got it rolling. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">He linked us up together. He was cool with the owner here. We’re just reaching new audiences, you know.\u003c/span>\u003c/p>\n\u003cp>\u003cb>I’ve never had Spam in a burrito. It’s definitely not common in Mexican cuisine. Was that even an option on the menu at Iguanas before this? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> Nah, we didn’t know we could even add an ingredient like that. They added it just for this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill:\u003c/b>\u003cspan style=\"font-weight: 400\"> It reminded us of, like, a \u003ca href=\"https://www.instagram.com/p/CGx0fcuBrzA/\">tosilog burrito\u003c/a>. The owners said we could do it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b>\u003cspan style=\"font-weight: 400\"> On the day of the debut event, they actually ran out of Spam. \u003c/span>\u003ca href=\"https://www.instagram.com/p/Cx1S--qyqIn/\">\u003cspan style=\"font-weight: 400\">The crowd was lined up all around the block\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It was crazy.\u003c/span>\u003c/p>\n\u003cp>\u003cb>I’ve noticed a rise in popularity and demand for Filipino brands and foods lately, like ube. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s ube lattes now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">I think that’s cool, it gives more exposure to our culture. That’s sick. But we need to go a little bit deeper into it. Not just the basic stuff like adobo.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">Man, kare-kare [a peanut-sauce stew with oxtails].\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, kare-kare is fire. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’re mostly known for your clothing. Where does your brand’s name, Jubo, come from? You started out by doing graffiti, right?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">I used to have another tagging\u003c/span> \u003cspan style=\"font-weight: 400\">name, but then I got caught. So my brother Averill gave me the name Jubo. I didn’t want to get caught again, so I transitioned into making T-shirts. We all used to draw back then, and then we would all sign it. My signature was always “Jubo.” When I started DJing, people would say, “Aye, Jubo, play that slap,” and that’s where I got that from. That leveled up to us designing and turning it all into a logo. It became a well-known name where we grew up. It just became its own thing.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936645\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936645 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_collab_swag.jpg\" alt=\"a San Jose artist showcases a shirt he designed for a local taqueria\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_collab_swag-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Averill Nemedez shows off his Iguanas and Juborrito collaborative T-shirt. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When did you start actually making T-shirts?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ve been into it since middle school. At first we made stencils using manila folders and an Exacto knife. Then I bought a screen printing press when I was in high school. Eventually Jubo became official in about 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a brand before that, back in high school. But it was a wack brand.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, no one has to know about that [laughs]. I just used Microsoft Word, which was hard, because it’s not meant for design.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">And Microsoft Paint. We just printed things out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">After high school,\u003c/span> \u003cspan style=\"font-weight: 400\">I took a few classes at Evergreen Valley College. The teacher pushed me to do more. She gave me my first art show. She taught me hella shit about mock-ups, the process. But then I went to San Jose State, and it felt completely different. They didn’t care about what I wanted to do. I was working at a car wrapping spot at the time, learning different things. I also worked at a custom print shop in the mall. So I dropped out. Having those design experiences, I was able to teach Averill and Brian what to do. Now those guys are better than me.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How has San Jose shaped your approach to clothing, fashion and community?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ve been here our whole lives. People from here are built different, you know? You gotta hustle and have multiple streams of income. You gotta figure out how to make it. My mom immigrated here from the Philippines and had three different hustles at once. She had a 9 to 5 and then she would sell blankets at night. She would sell fish and longaniza, too. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">Jewelry.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> Toys and shit. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Exactly. When we were younger, we’d go on drop-offs with her ’til midnight. Bruh, I used to hate it, but now we do drop-offs for our own products. Now I get it. She did that for us to be able to thrive out here.\u003c/span>\u003c/p>\n\u003cp>\u003cb> Besides family (shout out immigrant parents), who has influenced you to pursue your creative passions?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">E-40\u003c/a> did it out the trunk, independently. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, he’s basically a millionaire out the trunk. But for me, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">\u003cspan style=\"font-weight: 400\">[TDK] Dream\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> was a big influence. He was a Filipino dude doing graffiti. He did commercial shit, but he also had his own style. I realized there was something you could do with graffiti. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936644\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936644 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_back.jpg\" alt=\"three brothers stand with their backs to the camera inside a taqueria\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_back-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Nemedez brothers (Averill, right; Jason, center; Brian, left) oversee the making of “Juborritos” at Iguanas in San Jose. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What makes clothing your ideal medium for self-expression?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">Clothing is very personal. It’s about what’s comfortable to you. Nobody really has any say in what you choose to put on. It’s you. Other opinions don’t matter.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s cool because it gives you an outlet to show who you are. We make shit inspired by what we like. Musical artists, cartoons, sports, movies we watched growing up. You can display it all without saying a word. Someone might see you and identify with you, they might be able to relate and connect off that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Before us, San Jose had a big renaissance in terms of streetwear and creative outlets. Breezy was a top brand. Cukui. Headliners. Holloway. They all came up together. And it came with the music at the time like Rey Res, City Shawn, The Bangerz, Cutso and them. And \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">\u003cspan style=\"font-weight: 400\">Traxamillion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, RIP. We actually made merch for him. In 2020 he had a Street Fighter album [\u003c/span>\u003ca href=\"https://open.spotify.com/album/4qpg7wKEQK4yaLrMvoRP4f\">\u003ci>\u003cspan style=\"font-weight: 400\">Super Beat Fighter\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">], and \u003c/span>\u003ca href=\"https://www.traxamillion.com/products/black-super-beat-fighter-slapp-edition-t-shirt\">\u003cspan style=\"font-weight: 400\">he asked me to give Ryu a durag instead of a headband\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. All that got us excited for designing clothes.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What do you think outsiders misunderstand or overlook about San Jose?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">The creative scene. We’re surrounded by all this technology, everyone just thinks of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">You have to be in it to know what’s going on. If you’re from the outside, you wouldn’t know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re also neighboring San Francisco and Oakland, which are more prominent. But San Jose for sure has its own style. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">We have a chip on our shoulder.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. I like to say I’m from San Jose and not the Bay Area. When I tell people I’m from the Bay they’re like, “So, San Francisco?” and I’m like, “Nah, that’s an hour away.” I think something that plays a part in that is we don’t really have any music venues here, so artists don’t really come out here unless they’re huge like Drake and can sell out the SAP Center. So a lot of people just skip over us.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936647\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936647 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/juborrito_gold_cropped.jpg\" alt=\"a gold-foil wrapped burrito is displayed on an outdoor table\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/juborrito_gold_cropped-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The limited-edition “Juborrito” (which includes Spam, garlic tater tots, cheese, and egg) is inspired by classic Filipino breakfast meals.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So how is San Jose’s style different from other parts of the Bay?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason: \u003c/b>\u003cspan style=\"font-weight: 400\">Someone once told me that they think of San Jose more like L.A. rather than San Francisco or Oakland. Because we have hella lowriders. That’s huge here. That Chicano influence is fasho big out here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s kind of that vintage style, too. That workwear. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian: \u003c/b>\u003cspan style=\"font-weight: 400\">And skate culture.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How are you keeping that San Jose style alive? Where can the people find you?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b>\u003cspan style=\"font-weight: 400\"> We have a brick-and-mortar shop in Japantown. It’s called \u003c/span>\u003ca href=\"https://www.instagram.com/coldwater.sj/\">\u003cspan style=\"font-weight: 400\">Coldwater\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s an ode to our grandma, who lived on Coldwater Drive, where we grew up. We each sell our own separate brands there, and Jubo Clothing is our team brand.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Brian:\u003c/b>\u003cspan style=\"font-weight: 400\"> My brand is \u003c/span>\u003ca href=\"https://www.instagram.com/madebyrila/\">\u003cspan style=\"font-weight: 400\">Made by Rila\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I do a lot of custom hats. Shirts. I did a skateboard recently.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Averill:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mine is \u003c/span>\u003ca href=\"https://www.instagram.com/bigavegetpaid/\">\u003cspan style=\"font-weight: 400\">Big Ave Get Paid\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I make graphic designs on shirts. I want to try doing jackets in the future. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Jason:\u003c/b> \u003ca href=\"https://www.instagram.com/juboslaps/\">\u003cspan style=\"font-weight: 400\">Jubo Slaps\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is my personal brand. It’s all just a reflection of San Jose and our experiences growing up here.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The Juborrito will be served at all three \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/iguanasburritozilla/\">\u003ci>\u003cspan style=\"font-weight: 400\">Iguanas\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> locations (330 S. Third St., San Jose; 4848 San\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Felipe Rd., San Jose; 4300 Great America Pkwy., Santa Clara) through the end of November. \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/coldwater.sj/\">\u003ci>\u003cspan style=\"font-weight: 400\">Coldwater\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (205 Jackson St., San Jose) is open Thu. through Sun., from 12:30 to 5 p.m. (6 p.m. on weekends).\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ade-dehye-akintunde-ahmad-kinfolx-oakland-style-week",
"title": "Ade Dehye's Sustainable Streetwear Is a Star of Oakland Style Week",
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"content": "\u003cp>“The things I work on, I’m passionate about,” \u003ca href=\"https://www.akintundeahmad.com/\">Akintunde Ahmad\u003c/a> tells me over the phone. “So it’s never a burden or a chore.”\u003c/p>\n\u003cp>Ahmad, who has a bachelor’s degree in sociology from Yale and a master’s in journalism from Columbia, is a writer, journalist, documentarian and co-founder of the Oakland cafe and community space \u003ca href=\"https://www.instagram.com/kinfolxoak/?hl=en\">Kinfolx\u003c/a>. He’s also the founder of the ethically and sustainably made-in-Ghana clothing brand \u003ca href=\"https://adedehye.com/\">Ade Dehye\u003c/a>, which has been worn by \u003ca href=\"https://www.sfchronicle.com/sports/warriors/article/That-Steph-Curry-tunnel-walk-shirt-It-was-17244577.php\">Steph Curry\u003c/a>, Andre Iguodala and Common. Some might consider the word “multi-hyphenate” cliche, but if anyone deserves the title, it’s this 27-year-old creative from East Oakland.\u003c/p>\n\u003cp>When I catch up with Ahmad, he’s in Los Angeles and recently wrapped up work on \u003cem>Anthem\u003c/em>, a Hulu documentary he helped produce about American music. He tells me the temporary move has been a great opportunity to explore new markets for Ade Dehye, but that he’ll return to Oakland for Ade Dehye’s \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Oct. 20 runway show\u003c/a> at Oakland Style Lab for \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a>, which gets underway October 18-22.\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cf7sLD6pr0U/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==\u003c/p>\n\u003cp>The idea for Ade Dehye first came to Ahmad when he spent a semester abroad in Ghana during college.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d never been interested in fashion before, but in Ghana I started going to fabric markets and seeing tons of new textiles. There’s so many tailors there — so any clothing I could think of I could get made,” says Ahmad. “So I just started making garments.”\u003c/p>\n\u003cp>Ahmad began experimenting with all types of West African textiles, such as fugu (hand-woven in the upper Western region of Ghana) and bogolan mudcloth (hand-spun and -dyed in Mali) to create brightly patterned coats and overshirts shimmering with color.\u003c/p>\n\u003cp>“I’d mix the indigenous textile with urban, streetwear silhouettes in order to create items that I, or the folks in my community, would want to wear,” says Ahmad.\u003c/p>\n\u003cfigure id=\"attachment_13935411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg\" alt=\"A close-up shot of Akintunde Ahmad as he opens his overshirt to show the design on his T-shirt.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Akintunde Ahmad wears an Ade Dehye overshirt and t-shirt featuring Ghanian President Kwame Nkrumah at Kinfolx in Oakland, Calif. on Sunday, Sept. 24, 2023. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ahmad wore his new clothes, friends repeatedly complimented him. He realized he’d created something special. But it wouldn’t be until 2019, once he’d graduated and saved up money, that he could start his brand.\u003c/p>\n\u003cp>“At the time, I spoke with my friend Awurama out there who runs the brand \u003ca href=\"https://threadedtribes.com/\">Threaded Tribes\u003c/a>,” says Ahmad. “She linked me with the production team she uses and that’s how things started.”\u003c/p>\n\u003cp>The Accra-based production team Ahmad opted for is small-scale. Every step is human-powered: Fabrics and textiles are hand-woven, and the cut-and-sew process is done by hand. Any dyes used are natural, and any screenprints done by hand.\u003c/p>\n\u003cp>“I wanted to build a social enterprise,” says Ahmad. “If it was just about money, it would’ve been easier to go to China. But I wanted to have an impact, to build sustainably in Ghana.”\u003c/p>\n\u003cp>One reason Ahmad prioritized sustainability is the clothing waste crisis in Ghana. Every week, \u003ca href=\"https://www.theguardian.com/global-development/2023/jun/05/yvette-yaa-konadu-tetteh-how-ghana-became-fast-fashions-dumping-ground\">15 million items\u003c/a> of secondhand clothing are shipped to Ghana from the United States, Australia and the United Kingdom. \u003ca href=\"https://www.reuters.com/lifestyle/ghanas-vintage-enthusiasts-give-new-life-western-clothing-waste-2022-12-28/\">Roughly 40%\u003c/a> of what is shipped to Ghana, however, is unusable and ends up in landfills — a percentage that’s constantly rising with the \u003ca href=\"https://goodonyou.eco/what-is-fast-fashion/\">growth of fast fashion\u003c/a>.\u003c/p>\n\u003cp>“The quality of what’s sent over is continually decreasing, both in actual construction quality and in the overall condition of the clothes,” says Ahmad. “So they end up in massive landfills like Korle Lagoon.”\u003c/p>\n\u003cp>Beyond sustainability, that his garments are ethically made is also critical to Ahmad. He says production workers are paid livable wages, and he frequently visits to verify that working conditions are safe.\u003c/p>\n\u003cp>“Africa has been exploited since the Berlin Conference of 1854,” says Ahmad. “I’m not in the business of exploiting folks. Especially not when we can all win together.”\u003c/p>\n\u003cp>https://www.instagram.com/p/Ctaa0mIxksp/?img_index=1\u003c/p>\n\u003cp>Exploitation on the continent is not the only trend Ahmad’s brand hopes to help disrupt — he also hopes it will help challenge the acute Eurocentrism of high fashion.\u003c/p>\n\u003cp>“Of any demographic, Black people spend the highest percentage of their income on luxury goods,” says Ahmad. “But high fashion is dominated by European fashion houses that haven’t traditionally cared about Black people. I want to highlight through [Ade Dehye] that there are Black-owned alternatives.”\u003c/p>\n\u003cp>For Ahmad, creating a strong Black-owned alternative is deeper than merely allowing for more racial representation in the industry.\u003c/p>\n\u003cp>“By spending on Black-owned brands, you’re spending with someone who’s more likely to spend or reinvest with others in the Black community. That economic flow in turn creates better opportunities and resources. That’s the bigger picture I hope folks understand. It’s not just about race — it’s about communities, economic power, and allowing for more.”\u003c/p>\n\u003cp>This hope to empower and strengthen his community is also what drives Ahmad’s work with the cafe and event space Kinfolx.\u003c/p>\n\u003cp>The idea for Kinfolx spawned when Ahmad and his close friend Creighton Davis struggled to find Black-owned businesses where they could meet to discuss community issues. It’s no surprise, Ahmad says: Since 1990, through gentrification and displacement, Oakland’s Black population has almost halved. [aside postid='arts_13933436']\u003c/p>\n\u003cp>“It’s weird being downtown in a city you’ve grown up and done so much in — only to now get judged on appearance when you go in somewhere,” says Ahmad. “So we wanted to create a space where it’s apparent that Black and brown people are valued.”\u003c/p>\n\u003cp>Kinfolx frequently hosts community events, like live music or game nights. The space is also entirely furnished by Black-owned businesses. The walls showcase art by Black artists, the bar serves wines from Black-owned wineries and even the toilets in the bathroom are from a Black-owned company.\u003c/p>\n\u003cfigure id=\"attachment_13936566\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg\" alt=\"An engaged crowd of 20-30 people, mostly young Black creative types, gathers around the speakers inside a well-lit wine bar.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In Augusty 2023, UDay Studios held an event at Kinfolx featuring filmmakers Boots Riley and Cheryl Dunye. \u003ccite>(Wallah Umoja )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people say ‘I won’t work with Black folks because they don’t do things right,’” says Ahmad. “But our success shows there’s no excuse. If we’re doing it, why can’t you?”\u003c/p>\n\u003cp>Ahmad and I are nearing the end of our conversation, so I can’t help but ask: For someone whose accomplished so much across so many fields, what does he want to do next?\u003c/p>\n\u003cp>“I want to create resources and videos that’ll encourage people to build with folks that have been overlooked and exploited,” he says. “I also want Ade Dehye to become a household name, and I want to show folks we got there by doing it the right way.”\u003c/p>\n\u003cp>He pauses reflectively. “Oh yeah, and of course — I want to enjoy. Just enjoy the ride.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Ade Dehye is featured in the \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Style Wars: Streetwear Runway Show\u003c/a> on Oct. 20 at Oakland Style Lab as part of \u003ca href=\"https://www.instagram.com/oaklandstyleweek/\">Oakland Style Week\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction, Oct. 18, 2023: \u003c/strong>\u003c/em>\u003cem>A previous version of this article stated that Akintunde Ahmad is of Ghanaian heritage. He is not. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The things I work on, I’m passionate about,” \u003ca href=\"https://www.akintundeahmad.com/\">Akintunde Ahmad\u003c/a> tells me over the phone. “So it’s never a burden or a chore.”\u003c/p>\n\u003cp>Ahmad, who has a bachelor’s degree in sociology from Yale and a master’s in journalism from Columbia, is a writer, journalist, documentarian and co-founder of the Oakland cafe and community space \u003ca href=\"https://www.instagram.com/kinfolxoak/?hl=en\">Kinfolx\u003c/a>. He’s also the founder of the ethically and sustainably made-in-Ghana clothing brand \u003ca href=\"https://adedehye.com/\">Ade Dehye\u003c/a>, which has been worn by \u003ca href=\"https://www.sfchronicle.com/sports/warriors/article/That-Steph-Curry-tunnel-walk-shirt-It-was-17244577.php\">Steph Curry\u003c/a>, Andre Iguodala and Common. Some might consider the word “multi-hyphenate” cliche, but if anyone deserves the title, it’s this 27-year-old creative from East Oakland.\u003c/p>\n\u003cp>When I catch up with Ahmad, he’s in Los Angeles and recently wrapped up work on \u003cem>Anthem\u003c/em>, a Hulu documentary he helped produce about American music. He tells me the temporary move has been a great opportunity to explore new markets for Ade Dehye, but that he’ll return to Oakland for Ade Dehye’s \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Oct. 20 runway show\u003c/a> at Oakland Style Lab for \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a>, which gets underway October 18-22.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The idea for Ade Dehye first came to Ahmad when he spent a semester abroad in Ghana during college.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d never been interested in fashion before, but in Ghana I started going to fabric markets and seeing tons of new textiles. There’s so many tailors there — so any clothing I could think of I could get made,” says Ahmad. “So I just started making garments.”\u003c/p>\n\u003cp>Ahmad began experimenting with all types of West African textiles, such as fugu (hand-woven in the upper Western region of Ghana) and bogolan mudcloth (hand-spun and -dyed in Mali) to create brightly patterned coats and overshirts shimmering with color.\u003c/p>\n\u003cp>“I’d mix the indigenous textile with urban, streetwear silhouettes in order to create items that I, or the folks in my community, would want to wear,” says Ahmad.\u003c/p>\n\u003cfigure id=\"attachment_13935411\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg\" alt=\"A close-up shot of Akintunde Ahmad as he opens his overshirt to show the design on his T-shirt.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/20230924-Akintune-Ahmad-014-JY-KQED-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Akintunde Ahmad wears an Ade Dehye overshirt and t-shirt featuring Ghanian President Kwame Nkrumah at Kinfolx in Oakland, Calif. on Sunday, Sept. 24, 2023. \u003ccite>(Juliana Yamada for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ahmad wore his new clothes, friends repeatedly complimented him. He realized he’d created something special. But it wouldn’t be until 2019, once he’d graduated and saved up money, that he could start his brand.\u003c/p>\n\u003cp>“At the time, I spoke with my friend Awurama out there who runs the brand \u003ca href=\"https://threadedtribes.com/\">Threaded Tribes\u003c/a>,” says Ahmad. “She linked me with the production team she uses and that’s how things started.”\u003c/p>\n\u003cp>The Accra-based production team Ahmad opted for is small-scale. Every step is human-powered: Fabrics and textiles are hand-woven, and the cut-and-sew process is done by hand. Any dyes used are natural, and any screenprints done by hand.\u003c/p>\n\u003cp>“I wanted to build a social enterprise,” says Ahmad. “If it was just about money, it would’ve been easier to go to China. But I wanted to have an impact, to build sustainably in Ghana.”\u003c/p>\n\u003cp>One reason Ahmad prioritized sustainability is the clothing waste crisis in Ghana. Every week, \u003ca href=\"https://www.theguardian.com/global-development/2023/jun/05/yvette-yaa-konadu-tetteh-how-ghana-became-fast-fashions-dumping-ground\">15 million items\u003c/a> of secondhand clothing are shipped to Ghana from the United States, Australia and the United Kingdom. \u003ca href=\"https://www.reuters.com/lifestyle/ghanas-vintage-enthusiasts-give-new-life-western-clothing-waste-2022-12-28/\">Roughly 40%\u003c/a> of what is shipped to Ghana, however, is unusable and ends up in landfills — a percentage that’s constantly rising with the \u003ca href=\"https://goodonyou.eco/what-is-fast-fashion/\">growth of fast fashion\u003c/a>.\u003c/p>\n\u003cp>“The quality of what’s sent over is continually decreasing, both in actual construction quality and in the overall condition of the clothes,” says Ahmad. “So they end up in massive landfills like Korle Lagoon.”\u003c/p>\n\u003cp>Beyond sustainability, that his garments are ethically made is also critical to Ahmad. He says production workers are paid livable wages, and he frequently visits to verify that working conditions are safe.\u003c/p>\n\u003cp>“Africa has been exploited since the Berlin Conference of 1854,” says Ahmad. “I’m not in the business of exploiting folks. Especially not when we can all win together.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exploitation on the continent is not the only trend Ahmad’s brand hopes to help disrupt — he also hopes it will help challenge the acute Eurocentrism of high fashion.\u003c/p>\n\u003cp>“Of any demographic, Black people spend the highest percentage of their income on luxury goods,” says Ahmad. “But high fashion is dominated by European fashion houses that haven’t traditionally cared about Black people. I want to highlight through [Ade Dehye] that there are Black-owned alternatives.”\u003c/p>\n\u003cp>For Ahmad, creating a strong Black-owned alternative is deeper than merely allowing for more racial representation in the industry.\u003c/p>\n\u003cp>“By spending on Black-owned brands, you’re spending with someone who’s more likely to spend or reinvest with others in the Black community. That economic flow in turn creates better opportunities and resources. That’s the bigger picture I hope folks understand. It’s not just about race — it’s about communities, economic power, and allowing for more.”\u003c/p>\n\u003cp>This hope to empower and strengthen his community is also what drives Ahmad’s work with the cafe and event space Kinfolx.\u003c/p>\n\u003cp>The idea for Kinfolx spawned when Ahmad and his close friend Creighton Davis struggled to find Black-owned businesses where they could meet to discuss community issues. It’s no surprise, Ahmad says: Since 1990, through gentrification and displacement, Oakland’s Black population has almost halved. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s weird being downtown in a city you’ve grown up and done so much in — only to now get judged on appearance when you go in somewhere,” says Ahmad. “So we wanted to create a space where it’s apparent that Black and brown people are valued.”\u003c/p>\n\u003cp>Kinfolx frequently hosts community events, like live music or game nights. The space is also entirely furnished by Black-owned businesses. The walls showcase art by Black artists, the bar serves wines from Black-owned wineries and even the toilets in the bathroom are from a Black-owned company.\u003c/p>\n\u003cfigure id=\"attachment_13936566\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg\" alt=\"An engaged crowd of 20-30 people, mostly young Black creative types, gathers around the speakers inside a well-lit wine bar.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/TAKAIKINFOLX080623-154-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In Augusty 2023, UDay Studios held an event at Kinfolx featuring filmmakers Boots Riley and Cheryl Dunye. \u003ccite>(Wallah Umoja )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people say ‘I won’t work with Black folks because they don’t do things right,’” says Ahmad. “But our success shows there’s no excuse. If we’re doing it, why can’t you?”\u003c/p>\n\u003cp>Ahmad and I are nearing the end of our conversation, so I can’t help but ask: For someone whose accomplished so much across so many fields, what does he want to do next?\u003c/p>\n\u003cp>“I want to create resources and videos that’ll encourage people to build with folks that have been overlooked and exploited,” he says. “I also want Ade Dehye to become a household name, and I want to show folks we got there by doing it the right way.”\u003c/p>\n\u003cp>He pauses reflectively. “Oh yeah, and of course — I want to enjoy. Just enjoy the ride.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Ade Dehye is featured in the \u003ca href=\"https://www.eventbrite.com/e/style-wars-streetwear-runway-show-sneaker-competition-tickets-729789890207?aff=oddtdtcreator\">Style Wars: Streetwear Runway Show\u003c/a> on Oct. 20 at Oakland Style Lab as part of \u003ca href=\"https://www.instagram.com/oaklandstyleweek/\">Oakland Style Week\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction, Oct. 18, 2023: \u003c/strong>\u003c/em>\u003cem>A previous version of this article stated that Akintunde Ahmad is of Ghanaian heritage. He is not. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Bay Area Streetwear Legend Wants Everyone to Eat",
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"content": "\u003cp>Over a decade ago, Mike Liwanag — the founder of the \u003ca href=\"https://www.instagram.com/savsbrand/?hl=en\">Savs clothing brand\u003c/a> — began his career in streetwear by selling Manny Pacquiao shirts “out the trunk” without any permission or permits.\u003c/p>\n\u003cp>At the time, social media wasn’t much of an option. So instead of selling direct-to-customer online, he had to hustle outside of popular venues where Pacquiao’s fights were being broadcasted. The young Filipino American clothing maker blew up in 2008 after selling over 20,000 shirts in four fights. The hype even reached Pacquiao himself.\u003c/p>\n\u003cp>“I was working 80 to 90 hours a week with a full-time job, just selling in the streets, and [Pacquiao] found out and invited me to meet him,” Liwanag says. “I was nervous at first, but we chopped it up and he gave us his blessing. He’s a real one. He could’ve sued us. Instead I was able to stack my bread and quit my job.”\u003c/p>\n\u003cp>In 2012 he founded Savs, one of the region’s premier clothing brands that specializes in custom sports apparel, basketball shorts and Filipino American drip. You may have seen their \u003ca href=\"https://savs.co/collections/collabs/products/savs-x-the-lumpia-company-jersey-green-collar\">retro baseball jerseys — with “Lumpia” scripted across the chest\u003c/a> — at an A’s or Giants game.\u003c/p>\n\u003cp>Liwanag has since become \u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Krc8JHwQHFc\">a godfather of Bay Area streetwear\u003c/a>. A veteran in the game, he’s helped launch other viral Filipino-owned brands — namely, \u003ca href=\"https://whocaressupplyco.com/\">Who Cares?\u003c/a> and \u003ca href=\"https://collectandselect.com/\">Collect and Select\u003c/a> — and continues finding ways to give back to his community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His latest idea? A food and clothing festival called \u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">Everybody Eats\u003c/a>.\u003c/p>\n\u003cp>Co-organized by San Francisco event mogul \u003ca href=\"https://www.instagram.com/anthonypresents/?hl=en\">Anthony Presents\u003c/a>, as well as the aforementioned Who Cares? and Collect and Select — two independent brands run by a pair of brothers who got their start as Liwanag’s teenage employees — Everybody Eats is rooted in family-style celebration, flavorful culture and collective wealth. The annual festival cross-stitches homegrown Bay Area platforms together through music, special-edition apparel, social advocacy and, of course, food. From heavyweights like World Famous Hot Boys and Señor Sisig — whose owners Liwanag has been close with since his early days — to up-and-comers like \u003ca href=\"https://www.instagram.com/busog.ba/?hl=en\">Busog\u003c/a> (Tagalog for “full”), Vatos Tacos and \u003ca href=\"https://www.kqed.org/arts/13929263/ube-choco-taco-macs-by-icky-filipino-union-city\">Macs By Icky\u003c/a>, the event will offer plenty of ways to eat, literally.\u003c/p>\n\u003cfigure id=\"attachment_13935586\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg\" alt=\"A man pulls the brim of a green baseball cap down over his eyes. The cap's logo reads, "Everybody Eats."\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A limited-edition snapback from 2022’s inaugural Everybody Eats festival. The cap was a collaboration between Who Cares? and Savs. \u003ccite>(Courtesy of Hometeam.Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, local clothing brands including Bass Resources (owned by East Bay rapper P-Lo), Dirty Pesos, Breed, Beyond Deadstock, Adapt and \u003ca href=\"https://www.kqed.org/arts/13923522/jordan-jimenez-jsquared-visuals-viral-nba-photos-pop-up-gallery-show\">JSquared\u003c/a>’s Maraud will be in attendance.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13929263,arts_13923522,arts_13932574']\u003c/span>“It’s tied closely to how we live, how we work, how we interact,” says Liwanag. “The saying \u003ca href=\"https://savs.co/products/savs-x-whocares-everybody-eats-trimless-hoop-shorts\">‘everybody eats’ was made popular in [the 2002 film] \u003ci>Paid In Full\u003c/i>\u003c/a>, and it just represents doing what you gotta do and giving back. The pie is big enough for everyone to get a slice.”\u003c/p>\n\u003cp>The event initially started in 2022 as a 10-year-anniversary celebration for Savs, but has since expanded into a yearly showcase for brands that Liwanag is a fan of. Speaking with him is like taking a seminar on purpose-driven entrepreneurialism. Inspired by artists like \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\">Vallejo’s LaRussell\u003c/a> — who often centers his business model on free or give-what-you-can experiences — it’s clear that Liwanag is dedicated to uplifting the Bay Area’s creative community by serving others.\u003c/p>\n\u003cp>“It’s not about the money. It’s about the freedom and ability to help others realize their dreams,” says Liwanag. “We’re making [Everybody Eats] a free community event where people can feel good and fund charities. That’s more gratifying than a paycheck for me at this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">\u003ci>Everybody Eats\u003c/i>\u003c/a>\u003ci> will feature over 30 foodmakers and clothing brands in addition to music and guest speakers. It will take place on Sat., Oct. 7 from noon to 5 p.m. at The Crossing (200 Folsom St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a decade ago, Mike Liwanag — the founder of the \u003ca href=\"https://www.instagram.com/savsbrand/?hl=en\">Savs clothing brand\u003c/a> — began his career in streetwear by selling Manny Pacquiao shirts “out the trunk” without any permission or permits.\u003c/p>\n\u003cp>At the time, social media wasn’t much of an option. So instead of selling direct-to-customer online, he had to hustle outside of popular venues where Pacquiao’s fights were being broadcasted. The young Filipino American clothing maker blew up in 2008 after selling over 20,000 shirts in four fights. The hype even reached Pacquiao himself.\u003c/p>\n\u003cp>“I was working 80 to 90 hours a week with a full-time job, just selling in the streets, and [Pacquiao] found out and invited me to meet him,” Liwanag says. “I was nervous at first, but we chopped it up and he gave us his blessing. He’s a real one. He could’ve sued us. Instead I was able to stack my bread and quit my job.”\u003c/p>\n\u003cp>In 2012 he founded Savs, one of the region’s premier clothing brands that specializes in custom sports apparel, basketball shorts and Filipino American drip. You may have seen their \u003ca href=\"https://savs.co/collections/collabs/products/savs-x-the-lumpia-company-jersey-green-collar\">retro baseball jerseys — with “Lumpia” scripted across the chest\u003c/a> — at an A’s or Giants game.\u003c/p>\n\u003cp>Liwanag has since become \u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Krc8JHwQHFc\">a godfather of Bay Area streetwear\u003c/a>. A veteran in the game, he’s helped launch other viral Filipino-owned brands — namely, \u003ca href=\"https://whocaressupplyco.com/\">Who Cares?\u003c/a> and \u003ca href=\"https://collectandselect.com/\">Collect and Select\u003c/a> — and continues finding ways to give back to his community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His latest idea? A food and clothing festival called \u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">Everybody Eats\u003c/a>.\u003c/p>\n\u003cp>Co-organized by San Francisco event mogul \u003ca href=\"https://www.instagram.com/anthonypresents/?hl=en\">Anthony Presents\u003c/a>, as well as the aforementioned Who Cares? and Collect and Select — two independent brands run by a pair of brothers who got their start as Liwanag’s teenage employees — Everybody Eats is rooted in family-style celebration, flavorful culture and collective wealth. The annual festival cross-stitches homegrown Bay Area platforms together through music, special-edition apparel, social advocacy and, of course, food. From heavyweights like World Famous Hot Boys and Señor Sisig — whose owners Liwanag has been close with since his early days — to up-and-comers like \u003ca href=\"https://www.instagram.com/busog.ba/?hl=en\">Busog\u003c/a> (Tagalog for “full”), Vatos Tacos and \u003ca href=\"https://www.kqed.org/arts/13929263/ube-choco-taco-macs-by-icky-filipino-union-city\">Macs By Icky\u003c/a>, the event will offer plenty of ways to eat, literally.\u003c/p>\n\u003cfigure id=\"attachment_13935586\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg\" alt=\"A man pulls the brim of a green baseball cap down over his eyes. The cap's logo reads, "Everybody Eats."\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A limited-edition snapback from 2022’s inaugural Everybody Eats festival. The cap was a collaboration between Who Cares? and Savs. \u003ccite>(Courtesy of Hometeam.Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, local clothing brands including Bass Resources (owned by East Bay rapper P-Lo), Dirty Pesos, Breed, Beyond Deadstock, Adapt and \u003ca href=\"https://www.kqed.org/arts/13923522/jordan-jimenez-jsquared-visuals-viral-nba-photos-pop-up-gallery-show\">JSquared\u003c/a>’s Maraud will be in attendance.\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>“It’s tied closely to how we live, how we work, how we interact,” says Liwanag. “The saying \u003ca href=\"https://savs.co/products/savs-x-whocares-everybody-eats-trimless-hoop-shorts\">‘everybody eats’ was made popular in [the 2002 film] \u003ci>Paid In Full\u003c/i>\u003c/a>, and it just represents doing what you gotta do and giving back. The pie is big enough for everyone to get a slice.”\u003c/p>\n\u003cp>The event initially started in 2022 as a 10-year-anniversary celebration for Savs, but has since expanded into a yearly showcase for brands that Liwanag is a fan of. Speaking with him is like taking a seminar on purpose-driven entrepreneurialism. Inspired by artists like \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\">Vallejo’s LaRussell\u003c/a> — who often centers his business model on free or give-what-you-can experiences — it’s clear that Liwanag is dedicated to uplifting the Bay Area’s creative community by serving others.\u003c/p>\n\u003cp>“It’s not about the money. It’s about the freedom and ability to help others realize their dreams,” says Liwanag. “We’re making [Everybody Eats] a free community event where people can feel good and fund charities. That’s more gratifying than a paycheck for me at this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">\u003ci>Everybody Eats\u003c/i>\u003c/a>\u003ci> will feature over 30 foodmakers and clothing brands in addition to music and guest speakers. It will take place on Sat., Oct. 7 from noon to 5 p.m. at The Crossing (200 Folsom St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "beyonce-renaissance-levis-stadium-photos-fashion",
"title": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion",
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"headTitle": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion | KQED",
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"content": "\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>[aside postID='arts_13934154']Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"title": "Beyoncé’s Fans at Levi’s Stadium Wear Their Best Silver Fashion | KQED",
"description": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"headline": "Welcome to the House of Chrome: The Bay Area BeyHive Don Their Best Silver Fashion",
"datePublished": "2023-08-31T13:02:32-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. 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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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