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"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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"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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"title": "An Experimental Fashion Show Presents a Vision of Artists in Motion",
"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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"excerpt": "An event organized by Two Two and jane galerie featured emerging designers in a lineup of maximal looks.",
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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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"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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"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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"slug": "meet-the-designer-for-the-bs-oaklands-new-homegrown-baseball-team",
"title": "Meet the Designer for the B’s, Oakland’s New Homegrown Baseball Team",
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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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"headTitle": "5 Bay Area Locals With Impeccable Style | KQED",
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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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"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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"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",
"headTitle": "A Bay Area Streetwear Legend Wants Everyone to Eat | KQED",
"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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"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. 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>\u003c/p>\u003c/div>",
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"title": "How a San Francisco Family Helped Bring Japanese Denim to the U.S.",
"headTitle": "How a San Francisco Family Helped Bring Japanese Denim to the U.S. | KQED",
"content": "\u003cp>Japanese denim brand Kapital has a global following that includes \u003ca href=\"https://www.reddit.com/r/asaprocky/comments/1336c87/kapital_japanese_brand/\">A$AP Rocky\u003c/a> and Oklahoma City Thunder point guard \u003ca href=\"https://pausemag.co.uk/2021/03/spotted-shai-gilgeous-alexander-in-kapital-patchwork-zeal/\">Shai Gilgeous-Alexander\u003c/a> — so what makes it so special?\u003c/p>\n\u003cp>Thirtytwo-year-old Rue Critchfield explains it to me as we sit on a wooden staircase in the back patio of \u003ca href=\"https://cottonsheep.com/\">Cotton Sheep\u003c/a>, the San Francisco boutique he helps manage with his mother Eiko Mizuhara, sister Aria Mizuhara and father Victor Critchfield. Their store has carried the brand since 2004 and was the first in the United States to do so.\u003c/p>\n\u003cp>“The machines [Kapital] uses to create denim are the old looms that Americans used to use. You have to literally watch over them, they don’t just crank out rolls of fabric at the speed that modern machines do,” Rue tells me. “And they use real Japanese indigo. Sometimes it’s even the plant version, not the chemicalized dye.”\u003c/p>\n\u003cp>“We’re probably the one store where we encourage customers to touch everything,” he adds. “So you can feel the quality.”\u003c/p>\n\u003cfigure id=\"attachment_13933467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-800x533.jpg\" alt=\"A 32-year-old Asian American man in glasses sits in front of a display of high-end Japanese denim.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rue Critchfield sits for a portrait inside his family’s business, Cotton Sheep, in San Francisco on Tuesday, August 15, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rue speaks with a gentle and understanding tone. He’s wearing a pair of canvas-colored Kapital carpenter pants (he tells me some pairs from the brand have been in his closet since high school), and his dad’s worn-in denim chore coat. It’s vintage, from years ago when his dad was a picker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was three, my parents bought a van and traveled through America buying vintage sneakers and Levi’s from thrift stores and flea markets to ship to Japan after they realized the Japanese market was crazy for American vintage,” explains Rue. “I remember I had maybe eight VHS tapes I’d watch on repeat on a tiny portable TV in the back of the van while my parents were picking.”\u003c/p>\n\u003cp>After a few years of this, Eiko and Victor decided to open Cotton Sheep. Eiko studied fashion at the Mode Gakuen in Nagoya, Japan, and worked as a stylist for TV companies in Tokyo in her youth. With the couple’s experience as pickers, it seemed like a natural next step.\u003c/p>\n\u003cp>“I think this sensibility of importing from one culture to the other, in order to provide things that one country has that the other wants, comes from my parent’s picking days,” Rue says. “This store is just a reversal of that.”\u003c/p>\n\u003cfigure id=\"attachment_13933264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-800x533.jpg\" alt=\"Two people wearing hats looks at wares in a modern-looking clothing store.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Employee Marco Verdin (right) helps Benny Raygoza (left) shop for bandanas at Cotton Sheep in San Francisco on August 15, 2023. Cotton Sheep imports denim and cotton items from Japan. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cotton Sheep’s racks are jumbled with tweed coats, patchwork pants, patterned denim, silver jewelry and colorful side-bags from Kapital, Japanese bag-making company Porter, and Japanese jewelry designer Masato. It’s busy, in the way a vintage shop would be. The interior is covered by wood paneling that gives the feeling of a cozy wood cabin. The design of it, Rue tells me, is completely Eiko’s own.\u003c/p>\n\u003cp>“She had this vision: ‘I want California mixed with Georgia O’Keeffe’s home,” says Rue. “She got these big redwood slabs and flew in two Japanese carpenters. She housed them while they built it.”\u003c/p>\n\u003cp>Although Cotton Sheep is now known for being the first store states-side to carry Kapital, becoming a stockist for the brand wasn’t easy.\u003c/p>\n\u003cp>“When my mom first approached Kapital, they actually refused. They said, ‘We’ve never sold out of the country — we don’t know how it’ll be received or how you’ll style it,’” says Rue.\u003c/p>\n\u003cp>Stylistically, Kapital’s clothing features psychedelic patchwork, asymmetric and exaggerated cuts, and traditional Japanese denim-making techniques — like \u003cem>sashiko\u003c/em> stitching and \u003cem>boro\u003c/em> distressing — that the U.S. hadn’t seen prior.\u003c/p>\n\u003cfigure id=\"attachment_13933466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothes hang on the walls at Cotton Sheep in San Francisco on Friday, July 28, 2023. Cotton Sheep’s merchandise consists of imported Japanese cotton and denim. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Eiko wasn’t discouraged. After several asks, she negotiated a trip to Kapital’s showroom to just look at the clothes without buying.\u003c/p>\n\u003cp>“Most buyers are rushing during showroom time — they’re throwing things, not taking care. But my mom would button and fold everything nicely again after looking,” says Rue. “So Kiro [Hirata], Kapital’s owner, he’s observing and says, ‘If it’s her, I trust her. Let’s give it a shot — let’s make her our first international buyer.’”\u003c/p>\n\u003cp>Cotton Sheep found success early, but as Rue notes, it mostly carried what Eiko specialized in: womenswear. That is, until Rue graduated from nearby UC Berkeley and began working at the family store full-time.\u003c/p>\n\u003cp>“When I started ten years ago, we had maybe a three-foot-wide section of menswear,” says Rue. “Eventually, I convinced my mom to let me go to showrooms in Japan to bring more, and I started curating the men’s side. It’s funny — now that’s most of what we carry.”\u003c/p>\n\u003cfigure id=\"attachment_13933470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Vicente (center) browses at Cotton Sheep with his friends in San Francisco on Tuesday, August 15, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is one benefit of the store being family-owned: It evolves each time one of the family members steps in to help manage it, as it did when Rue’s 26-year-old sister Aria took the helm for a period a few years back.\u003c/p>\n\u003cp>“Aria connected our store — which before had an older clientele — to her aesthetic that appeals to the younger generation who are almost more hypebeast-y,” says Rue. He pauses to laugh: “I remember my mom was so confused. ‘Who are these kids coming in with all this cash? How are they buying $1,000 jackets?’”\u003c/p>\n\u003cp>Being family-owned also means the family gets to have more intimate relationships with their customers — who include local fashion enthusiasts like San Francisco \u003ca href=\"https://www.instagram.com/p/CrhSaLZpD2A/\">rap star Larry June\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13933469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-800x533.jpg\" alt=\"A close-up shot of a gift box filled with high-end denim. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rue Critchfield wraps a gift at his family’s store, Cotton Sheep in San Francisco on Tuesday, August 15, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve got customers I’ve sold to for 10 years. I know everything they own,” says Rue. “Sometimes during a showroom, I’ll text one of my customers like, ‘Hey, there’s some crazy stuff coming in — would this interest you?’ It’s very personal.”\u003c/p>\n\u003cp>Perhaps most importantly of all — considering father-son duo Toshikiyo and Kiro Hirata run Kapital — being family-owned might be what allowed Cotton Sheep to become the brand’s first international stockist in the first place.\u003c/p>\n\u003cp>“I think they saw we weren’t a corporation,” says Rue. “I believe they don’t want their products to go to just whoever.” [aside postid='arts_13932870']\u003c/p>\n\u003cp>If being family-owned has one downside, though, it’s the matter of succession. What will become of the store as they age? At least for now, Rue remains unconcerned.\u003c/p>\n\u003cp>“We can’t all work here forever. But how can you sell something so precious like this?” says Rue. “It’ll be interesting to see what happens, but for the time being nothing will change. And that’s exciting.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>\u003cem>\u003ca href=\"https://cottonsheep.com/\">Cotton Sheep\u003c/a> is located at 572 Hayes St., San Francisco. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Hayes Valley’s Cotton Sheep stocks rare brands, and counts rap star Larry June among its clients.",
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"title": "How a San Francisco Family Helped Bring Japanese Denim to the U.S. | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Japanese denim brand Kapital has a global following that includes \u003ca href=\"https://www.reddit.com/r/asaprocky/comments/1336c87/kapital_japanese_brand/\">A$AP Rocky\u003c/a> and Oklahoma City Thunder point guard \u003ca href=\"https://pausemag.co.uk/2021/03/spotted-shai-gilgeous-alexander-in-kapital-patchwork-zeal/\">Shai Gilgeous-Alexander\u003c/a> — so what makes it so special?\u003c/p>\n\u003cp>Thirtytwo-year-old Rue Critchfield explains it to me as we sit on a wooden staircase in the back patio of \u003ca href=\"https://cottonsheep.com/\">Cotton Sheep\u003c/a>, the San Francisco boutique he helps manage with his mother Eiko Mizuhara, sister Aria Mizuhara and father Victor Critchfield. Their store has carried the brand since 2004 and was the first in the United States to do so.\u003c/p>\n\u003cp>“The machines [Kapital] uses to create denim are the old looms that Americans used to use. You have to literally watch over them, they don’t just crank out rolls of fabric at the speed that modern machines do,” Rue tells me. “And they use real Japanese indigo. Sometimes it’s even the plant version, not the chemicalized dye.”\u003c/p>\n\u003cp>“We’re probably the one store where we encourage customers to touch everything,” he adds. “So you can feel the quality.”\u003c/p>\n\u003cfigure id=\"attachment_13933467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-800x533.jpg\" alt=\"A 32-year-old Asian American man in glasses sits in front of a display of high-end Japanese denim.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67966_20230815-CottonSheep-38-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rue Critchfield sits for a portrait inside his family’s business, Cotton Sheep, in San Francisco on Tuesday, August 15, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rue speaks with a gentle and understanding tone. He’s wearing a pair of canvas-colored Kapital carpenter pants (he tells me some pairs from the brand have been in his closet since high school), and his dad’s worn-in denim chore coat. It’s vintage, from years ago when his dad was a picker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I was three, my parents bought a van and traveled through America buying vintage sneakers and Levi’s from thrift stores and flea markets to ship to Japan after they realized the Japanese market was crazy for American vintage,” explains Rue. “I remember I had maybe eight VHS tapes I’d watch on repeat on a tiny portable TV in the back of the van while my parents were picking.”\u003c/p>\n\u003cp>After a few years of this, Eiko and Victor decided to open Cotton Sheep. Eiko studied fashion at the Mode Gakuen in Nagoya, Japan, and worked as a stylist for TV companies in Tokyo in her youth. With the couple’s experience as pickers, it seemed like a natural next step.\u003c/p>\n\u003cp>“I think this sensibility of importing from one culture to the other, in order to provide things that one country has that the other wants, comes from my parent’s picking days,” Rue says. “This store is just a reversal of that.”\u003c/p>\n\u003cfigure id=\"attachment_13933264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-800x533.jpg\" alt=\"Two people wearing hats looks at wares in a modern-looking clothing store.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67975_20230815-CottonSheep-46-JY-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Employee Marco Verdin (right) helps Benny Raygoza (left) shop for bandanas at Cotton Sheep in San Francisco on August 15, 2023. Cotton Sheep imports denim and cotton items from Japan. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cotton Sheep’s racks are jumbled with tweed coats, patchwork pants, patterned denim, silver jewelry and colorful side-bags from Kapital, Japanese bag-making company Porter, and Japanese jewelry designer Masato. It’s busy, in the way a vintage shop would be. The interior is covered by wood paneling that gives the feeling of a cozy wood cabin. The design of it, Rue tells me, is completely Eiko’s own.\u003c/p>\n\u003cp>“She had this vision: ‘I want California mixed with Georgia O’Keeffe’s home,” says Rue. “She got these big redwood slabs and flew in two Japanese carpenters. She housed them while they built it.”\u003c/p>\n\u003cp>Although Cotton Sheep is now known for being the first store states-side to carry Kapital, becoming a stockist for the brand wasn’t easy.\u003c/p>\n\u003cp>“When my mom first approached Kapital, they actually refused. They said, ‘We’ve never sold out of the country — we don’t know how it’ll be received or how you’ll style it,’” says Rue.\u003c/p>\n\u003cp>Stylistically, Kapital’s clothing features psychedelic patchwork, asymmetric and exaggerated cuts, and traditional Japanese denim-making techniques — like \u003cem>sashiko\u003c/em> stitching and \u003cem>boro\u003c/em> distressing — that the U.S. hadn’t seen prior.\u003c/p>\n\u003cfigure id=\"attachment_13933466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67395_20230728-CottonSheep-19-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothes hang on the walls at Cotton Sheep in San Francisco on Friday, July 28, 2023. Cotton Sheep’s merchandise consists of imported Japanese cotton and denim. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Eiko wasn’t discouraged. After several asks, she negotiated a trip to Kapital’s showroom to just look at the clothes without buying.\u003c/p>\n\u003cp>“Most buyers are rushing during showroom time — they’re throwing things, not taking care. But my mom would button and fold everything nicely again after looking,” says Rue. “So Kiro [Hirata], Kapital’s owner, he’s observing and says, ‘If it’s her, I trust her. Let’s give it a shot — let’s make her our first international buyer.’”\u003c/p>\n\u003cp>Cotton Sheep found success early, but as Rue notes, it mostly carried what Eiko specialized in: womenswear. That is, until Rue graduated from nearby UC Berkeley and began working at the family store full-time.\u003c/p>\n\u003cp>“When I started ten years ago, we had maybe a three-foot-wide section of menswear,” says Rue. “Eventually, I convinced my mom to let me go to showrooms in Japan to bring more, and I started curating the men’s side. It’s funny — now that’s most of what we carry.”\u003c/p>\n\u003cfigure id=\"attachment_13933470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67979_20230815-CottonSheep-51-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Vicente (center) browses at Cotton Sheep with his friends in San Francisco on Tuesday, August 15, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is one benefit of the store being family-owned: It evolves each time one of the family members steps in to help manage it, as it did when Rue’s 26-year-old sister Aria took the helm for a period a few years back.\u003c/p>\n\u003cp>“Aria connected our store — which before had an older clientele — to her aesthetic that appeals to the younger generation who are almost more hypebeast-y,” says Rue. He pauses to laugh: “I remember my mom was so confused. ‘Who are these kids coming in with all this cash? How are they buying $1,000 jackets?’”\u003c/p>\n\u003cp>Being family-owned also means the family gets to have more intimate relationships with their customers — who include local fashion enthusiasts like San Francisco \u003ca href=\"https://www.instagram.com/p/CrhSaLZpD2A/\">rap star Larry June\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13933469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-800x533.jpg\" alt=\"A close-up shot of a gift box filled with high-end denim. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67972_20230815-CottonSheep-44-JY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rue Critchfield wraps a gift at his family’s store, Cotton Sheep in San Francisco on Tuesday, August 15, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve got customers I’ve sold to for 10 years. I know everything they own,” says Rue. “Sometimes during a showroom, I’ll text one of my customers like, ‘Hey, there’s some crazy stuff coming in — would this interest you?’ It’s very personal.”\u003c/p>\n\u003cp>Perhaps most importantly of all — considering father-son duo Toshikiyo and Kiro Hirata run Kapital — being family-owned might be what allowed Cotton Sheep to become the brand’s first international stockist in the first place.\u003c/p>\n\u003cp>“I think they saw we weren’t a corporation,” says Rue. “I believe they don’t want their products to go to just whoever.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If being family-owned has one downside, though, it’s the matter of succession. What will become of the store as they age? At least for now, Rue remains unconcerned.\u003c/p>\n\u003cp>“We can’t all work here forever. But how can you sell something so precious like this?” says Rue. “It’ll be interesting to see what happens, but for the time being nothing will change. And that’s exciting.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>\u003cem>\u003ca href=\"https://cottonsheep.com/\">Cotton Sheep\u003c/a> is located at 572 Hayes St., San Francisco. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "adorned-sophia-mitty-stitches-her-pride-for-the-415",
"title": "Adorned: Sophia Mitty Stitches Her Pride for the 415",
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"headTitle": "Adorned: Sophia Mitty Stitches Her Pride for the 415 | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>When \u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">Sophia Mitty\u003c/a> first started to sew, she was making it work from her bedroom. She’d place a wooden board on top of her bed as a makeshift table in order to cut out patterns. Nowadays, Mitty has her own work space to really spread out and create. Located in South San Francisco, her studio complete with heavy duty industrial sewing machines, affectionately dubbed “Sew City” (or “The Stu” for short) is a playground of color.\u003c/p>\n\u003cfigure id=\"attachment_13932878\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fabric lines a shelf at the shop of clothing maker Sophia Mitty in South San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goofy tchotchkes and other knick knacks line the studio’s beams and sewing tables, creating mini rainbows. There’s so much to look at! In one corner there’s a shelf with vibrant retro fabrics, and across from that are peg boards with large spools of thread organized by hue. All the sewing chairs have bright fuzzy covers with big googly eyes on them- very much giving PeeWee Herman’s Playhouse. “I’m just always chasing color, basically, trying to figure out ways to get it in my life,” says the San Francisco bred artist.\u003c/p>\n\u003cfigure id=\"attachment_13932875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932875 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-800x533.jpg\" alt=\"Sketches of outfits and fabric samples for future designs. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Mitty dyes her fabrics and makes patterns of jackets and pants that pay homage to San Francisco, preserving stories of the city that are fleeting due to gentrification. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In foggy frisco, where gray skies are plentiful, Mitty’s colorful hand-dyed and painted garments pop. Her line of denim jackets and utility pants for femmes offer classic and clean silhouettes with a funky twist. They come in shades like tangerine, cherry red, kiwi green, even earthy pigments like rust. Marbled patterns are options too. “I use clothing as therapy, as a way to set the mood of the day. It’s the easiest way to change your everyday life or make some kind of difference.”\u003c/p>\n\u003cfigure id=\"attachment_13932873\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932873 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothing and pattern maker Sophia Mitty pulls out a jacket she made with a Doggie Diner design.\u003c/figcaption>\u003c/figure>\n\u003cp>While the clothing industry is infamous for creating waste, Mitty prioritizes sustainability. She’ll often source fabric remnants from \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> (a creative reuse warehouse in the Bayview) and upcycle them into tops and bottoms. “When I started, I was mostly making zero waste sets. So I’d get a roll of fabric for a dollar, then have to keep using the fabric until it’s gone. If I still have extra, I’d make a top, hat or something.”\u003c/p>\n\u003cp>Aside from the rich color palette, Mitty’s clothes are often embellished with chain stitched embroidery. For a \u003ca href=\"https://somarts.org/muniraisedme-virtual/\">recent exhibition\u003c/a> at SOMArts, she created a series of embroidered jackets and tops that paid homage to the San Francisco that raised her. Memories of eating at \u003ca href=\"https://www.doggiediner.info/\">Doggie Dinner\u003c/a> in the Sunset, buying hauls of clothes in the Mission at the inexpensive \u003ca href=\"https://missionlocal.org/2017/03/thrift-town-on-mission-shutters-after-45-years/\">Thrift Town\u003c/a>, and Muni rides across town are woven into Mitty’s garments. [aside tag ='adorned' label= 'More From the Adorned Series' num='5']In this way, her clothes tell stories. They chronicle the love and heartbreak of what it means to remain in a city that is rapidly gentrifying.\u003c/p>\n\u003cp>Sunday August 13th, Mitty will be vending some of these embroidered jackets along with other “Mitsfits” (her line of tops and bottoms) at the \u003ca href=\"https://www.instagram.com/suckaflea/\">Sucka Flea Market\u003c/a> on 18th and Valencia in the Mission. Each garment is a one of one, so no two pants or jackets are the same.\u003c/p>\n\u003cp>On this episode of Rightnowish, clothing maker Sophia Mitty talks about stitching her pride for the 415, how color therapy influences her wardrobe, and why leaning into goofiness can help us dress for joy.\u003c/p>\n\u003cfigure id=\"attachment_13932872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-800x533.jpg\" alt=\"A woman with long wavy hair looks downward as she stitches white fabric with an industrial sewing machine. Colorful garments on a rack hang in the background.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothing and pattern maker Sophia Mitty sews in her shop in South San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4525424937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sound of cross stitch sewing machine ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty, Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. It’s basically you can draw with thread. But it’s pretty labor intensive. But I like it because it lasts forever, as you know, when it’s on the fabric. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sound of cross stitch sewing machine ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey friends, today on Rightnowish, we’re hanging out in the studio of clothing maker, Sophia Mitty. “The Stu” as she calls it is where she creates her line of utility pants and denim jackets. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s kind of like if a rainbow kind of just exploded in, like, a perfectly organized garage. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mhmm! That’s the vibe! [laughs] I’ve heard it’s like Pee Wee’s Playhouse or, like, the backstage of a theater… yeah i’ve heard a lot of weird stuff. [laughs] People come through the door and they’re like, “What is going on in here” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Her space is a wonderland of color! In one corner, there’s a shelf filled from top to bottom with bright vintage floral fabrics. Her thread and scissors are hung up on these peg boards organized by hue, kinda creating mini rainbows.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Plus she’s got a spray painted rainbow covering one wall with the phrase written, “Do it For the City”.The sewing chairs also got these funny googly eyes. There’s a lot going on in this space but it’s all really cute! You can’t help but feel inspired here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> I use clothing as therapy, as a way to set the mood of the day. It’s the easiest way to change your everyday life or make some kind of difference.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003cb>\u003cbr>\n\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">The clothes Sophia makes are classic silhouettes – boxy denim jackets and high waisted utility pants – the kind with deep pockets and straight legs that offer room and comfort around the thighs. But the colors are anything but simple, they really pop! And as a woman, it’s hard out here to buy pants that are sturdy, but colorful, functionable, but also cute and that’s what Sophia’s line is all about. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah so I make everything from scratch, so I also make the pattern. Like I draft the paper pattern, fit it adjust the.. all that, then sew the actual piece. So it is like a lot of, there’s a lot of parts to it [laughs] \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is probably the machine I use the most. It’s an industrial. So it’s made to, like, be used in factories and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sewing machine sound effects] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this episode we talk to Sophia about adorning ourselves through clothes, what stories our garments tell, and how colorful clothes can shift our mood and bring in some much needed playful energy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Marisol Medina-Cadena, go put on your flyest threads and stay with us. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b> \u003cspan style=\"font-weight: 400\">Walk me through, like, how you approach dressing yourself.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s about the weather for me mostly. And then also, like what I’m doing that day. So I’m one of those people that tries on like seven things and like I have a huge pile of clothes in my room. So it’s like it has to feel right. So there’s definitely a lot of emotion. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a big pants person. I usually start with the pants and then go from there and the rest of it usually falls together. I have a lot of like fits that I’ve already, like figured out. So I have like things that I’ll default to. But yeah, I try to mix it up as much as I can. I also, I love wearing stuff that I just made that’s always the most fun, but I also have clothes that I’ve made like five years ago that I still wear all the time. And I think that’s cool.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today is kind of a basic fit. I’m wearing these pants they’re… they’re like parrot tropical pants that I made. And just like a white shirt. I think the process of dressing is.. it’s like a ritual, and it’s a way to set your intentions for the day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Since you’re wearing something you made, why don’t you tell us how you got into making clothes in the first place? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">I got my first machine when I was 18, and I was probably about like 25, I’d say, when I started really getting into sewing. But yeah, I started making clothes because I could never find what I was looking for and I was always broke. So I started with, just like, the YouTube university style. Like, I definitely would take my clothes, trace them and make patterns like that, very experimental for a long time. Yeah, I started taking classes at City College. That’s really where I learned how to sew.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I basically got rid of all the clothes I had that I didn’t make, and I was like, I have to make all everything I wear all the time, in a way to like, force myself to learn everything. So basically I would just wear like these weird things that I made all the time. And I literally got rid of all the clothes in my closet to force myself to learn how to make everything. And it kind of worked. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Shopping, like you said, can be stressful because it’s like, this doesn’t fit me or like it’s a lot of emotions that come with shopping. But like when you’re able to craft your own thing, it’s like, “This is how I want it.” It’s not this like I need to conform to fit into this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cb>\u003ci> \u003c/i>\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it changes your mindset. It’s not like, what can I buy? Like what can I get? It’s like, what can I make? It’s… it feels different, like wearing stuff that you made and you know how it was made. I mean I do buy some basics sometimes like T-shirts and stuff like that, but I know how to make a T-shirt too. It’s like I could… I could technically not buy anything ever again. And that’s really exciting for me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sustainability is important to Sophia. She buys fabric from SCRAP, it’s this recycling art depot off of Bayshore Boulevard in San Francisco and she upcycles it into tops and bottoms. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> So this is like the fabric wall. And then I, like, thicker. I’m super into, like, twill and denim and stuff that’s more usable for like pants and stuff. But yeah, I really love patterns, especially like vintage patterns. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, these are like very seventies color palettes, the florals. Yeah, you don’t… you don’t see fabric like that nowadays if you go. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m super obsessed with florals. Anytime I see, like, see a floral, I get it. And also fish. I really… These are like, all fish patterns. I’m a Pisces. So, you know, I got to collect the fish. For me, it’s either about the… either I really like the fabric and I’m like, I need to use this fabric or I’ve drawn something and I’m like, I need to make this happen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really obsessed with, like, storytelling through textiles. And if it’s possible to embed like, memories and stuff into fabric, which is kind of weird, but I think it’s possible.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sophia has joined forces with other dope local artists and screen printers to design and print fabric. Like this one \u003c/span>\u003ca href=\"https://www.instagram.com/p/Chm5p91pX-O/?igshid=MzRlODBiNWFlZA==\">\u003cspan style=\"font-weight: 400\">pair of white pants\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> she made for singer La Doña. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s got big blue roses printed on it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of her going through the hanged items on rack] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sophia then proceeds to show me some of her works in progress that are hanging on the racks lining her studio. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> I really like the work pants style I’ve been kind of working on, but I feel like work pants are usually for the… the fit is for men. And I’ve been trying to work on pants that are more fitted for women, but also utilitarian. So they, the pockets are big, everything is baggy where it should be. Cause I feel like women’s pants are very constrictive. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I really resonate with what you’re saying about work pants. Not always. Like, like they don’t make that for women. Like, all the work pants I’ve had to buy are, like, from the men’s departments, which doesn’t bug me, but it just makes figuring out the sizing really hard. Yeah, because the sizing doesn’t translate. And I just wish like women’s pants was more, uh, boxy…do you feel like the way to make to kind of just blur all of that is by making your own clothes? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">I mean, with pants specifically, I think the pay off is the biggest. Just because trying to thrift pants is impossible. Buying pants like it’s also just like it’s a headache and it stresses me out. So just being… having that control over that little part of my life\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it helps me. I don’t know if I’m wearing bad, like, pants that don’t fit. It can like, ruin my whole day. Like it makes me so uncomfortable. I’m like, one of those people is like, super sensitive to, like, my senses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are kind of cool. These are like quilted checker. So like, I quilted the fabric first and then made the pants. But yeah, I’m super into trying to make pants that are just like as cool as the other parts of your clothes. I feel like people forget about pants. Oh, they’re just like, there’s jeans and that’s it. But that’s also like half your body and you can express a lot with your pants. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">I think im a huge color person. And I think, like, I believe in color therapy, like trying to have as much color in my life as possible \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s why I’m really drawn to your clothes. Like you got indigo, tangerine, kiwi green pants. Like, that’s what I’m trying to get my closet to look like.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, I do feel like overall clothes have become like they’ve tried to take all the color out. It’s like very neutral now. I’m just always chasing color. Basically, or like trying to figure out ways to put it, get it in my life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But yeah, I have a lot of friends that are very expressive and they really showed me how how powerful it can be to just, like, do your own thing and express yourself fully. And I feel like a lot of people hold back a lot. And it’s really sad. Especially, I don’t know, I feel like the techies… They don’t have that much, like, expression. And it shows like shows in the city. You can feel it. It’s a different vibe. But yeah just trying to use your clothes as like a protest to the draining of color and expression and people of color too though, like all of it. I feel like it’s connected.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sophia’s garments are not only reminders to take up space and be colorful through self expression but they are also about preserving Frisco culture and 415 pride. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year she made a series of embroidered jackets and tops for an exhibit at SOMArts called “Muni Raised Me” These jackets are for sale now and on the racks back in her studio. She shows me one that has color blocks of orange, blue and red… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">This one was one of my favorites. This is the Muni Raised me. I made this jacket for the show. So it has like the muni bus and it’s made of scraps from other projects…colors that I identify with the city, like orange and red. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Muni bus colors and the Giants. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Old school Muni colors. Yeah. And the orange also. Just like poppies and monarch butterflies. Orange, I feel like is really strong and also red I really identify like with the Mission and just like, yeah, all that kind of culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uh, what else we got in here? We got the Thrift Town. This is the Thrift Town one.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cb>\u003ci> \u003c/i>\u003c/b>\u003cspan style=\"font-weight: 400\">For folks who don’t know what\u003c/span> \u003cspan style=\"font-weight: 400\">Thrift Town was. Can you tell us?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, Thrift Town was basically, like, the best thrift store we had in the Mission. It was like, two stories, super big, very accessible. Like, everything was usually, like, under $10. So, yeah, I was raised. I went there like every Tuesday, I think, because they had some sale or something. Then there’s like other ones, this is like the Doggie Diner one. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yess!! Doggie Diner is like this chain of Bay Area burger joints. And they had that iconic plastic. I don’t even know what it’s made out of, but these huge dogs with cute a** noses, hat funny hats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah they’re super cute. And I just think they’re goofy. And I think that’s a part of the city, too. Just like the goofiness.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My favorite part of making clothes is wearing them. That’s the fun part. Also, sewing is fun, but yeah, I really enjoy having it on the body. Feeling, you know what I mean? Where you get to, like, experience them. And that’s also where you learn a lot, I think as someone that, like, makes the actual pattern, the way it fits is really important. And you can’t really get good at it unless you’re wearing the clothes you make. So yeah, I think it’s an important part of the process. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think, like, our generation didn’t grow up with like, sewing offered in schools. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> And so to make go, to go out of your way and learn it, whether you learned it from someone or you’re just online, you know, like that’s a very active rebellion in my opinion. You know, because you’re like, “I’m taking charge of making my own clothes.” For you was it kind of like that… that radical act? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> The moment I realized that I could make my own clothes was very transformational. It was very freeing. It was like, it’s no longer about how much money you have. It’s about how… what you can do. And like that was really empowering for me because I always felt very, like, limited. I feel like you learn a lot about who you are as a person and what you want to create.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know you’re teaching sewing now to high school students at Youth Art Exchange in the Excelsior. What’s it like watching them when they realize, like, “Yo, I’m capable of making something!”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, that’s like, really why I got into sewing just for that moment of, like, where they realize that they can do it and that it’s, like, not as hard as they thought it was. Once you start, you just start making whatever you can. And I really just I love working with them because they’re so excited. Sometimes I forget why I’m doing it and then I realize I remember that “why” when I work with them.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Like it seems like you have a lot of fun with your closet. And so I’m wondering, how does it feel to see other people wear your garments, adorn themselves with your garments that you, like, put so much love and intention behind? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, it’s always like the best feeling. I love seeing people wear the clothes that I make. It’s like the full circle moment. And especially when they’re, like, happy and comfortable and it’s like, I feel like I did what I needed to do. Um. But yeah, it’s always so, um, so beautiful to see. I be crying [giggles] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Do your garments have, like, tags on them? Like with your name? Yeah, cause they’re literally wearing your name!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> Yeah, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it’s like Mitsfits. My last name is Mitty. Um, yeh Mitsfits [giggles] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m exploring this theme of adornment, because in my personal life, I’m just not feeling like my best self. Feeling a little disconnected. And I’m like, kind of searching for different tools at my disposal to, like, feel more playful, feel more alive, feel more goofy. Do you have any advice for how I could use clothes in that way? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Trying things that you normally don’t is super powerful. I think it’s easy to get stuck in the same patterns with clothing where it’s like stuff that you’re used to wearing. But yeah, it can take a lot of confidence to wear stuff that’s kind of weird. But at the same time, I think that’s the stuff that’s the most beneficial to people as, like, as a development of self to do something not because you think someone thinks it’s cool, but because you think it’s cool is super important to style in general. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> If it triggers joy for you, like that, there’s something there that you should investigate and try to figure out or, you know, not take it so seriously. I feel like clothes, as you get older, people are just so serious about it all the time and it’s like it’s not! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It doesn’t have to be like that. I think it’s… it can be super fun, it can be weird.Um And that’s like, I like making clothes because I have the control over what fabrics and like, what cuts and stuff. So there’s literally no limit. It’s being able to tell a story without having to say anything. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m kind of a quiet person off the bat, but wearing certain clothes can help me feel comfortable and able to be who I really am I guess. I think it’s also just a way to show up in the world as what you want to see. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Ya know, talking to Sophia, I’m reminded about the time and care that my own mom put into making clothes for me. The sounds of the machines, the magic of taking a piece of fabric and turning it into a wearable garment. That transformation of regular materials into something with character and personality. Sophia’s work absolutely has both of those traits. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huge thanks to Sophia Mitty for inviting me over to your studio to see your original clothes and all that goes into making them. It’s a lot! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re interested in supporting Sophia’s work, she’ll actually be vending some of her pieces at the \u003c/span>\u003ca href=\"https://www.instagram.com/suckaflea/\">\u003cspan style=\"font-weight: 400\">Sucka Flea Market\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> this coming Sunday on Valencia & 18th street in the Mission. You can also check out her clothes and order on Instagram \u003c/span>\u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">\u003cspan style=\"font-weight: 400\">@sophiamitty.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> That’s spelled s-o-p-h-i-a-m-i-t-t-y. Thanks again, Sophia!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now time to give thanks to the whole squad that makes this show possible. \u003c/span>\u003cspan style=\"font-weight: 400\">Xorje Olivares produced this episode. \u003c/span>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor. \u003c/span>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team also includes Pendarvis Harshaw, Sheree Bishop, and Ryce Stoughtenborough. \u003c/span>\u003cspan style=\"font-weight: 400\">Additional support from Jen Chien, Katie Sprenger, Cesar Saldaña. and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Marisol Medina-Cadena. Go out and wear what makes you feel fly. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Adorned: Sophia Mitty Stitches Her Pride for the 415 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>When \u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">Sophia Mitty\u003c/a> first started to sew, she was making it work from her bedroom. She’d place a wooden board on top of her bed as a makeshift table in order to cut out patterns. Nowadays, Mitty has her own work space to really spread out and create. Located in South San Francisco, her studio complete with heavy duty industrial sewing machines, affectionately dubbed “Sew City” (or “The Stu” for short) is a playground of color.\u003c/p>\n\u003cfigure id=\"attachment_13932878\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932878\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67285_230725-SophiaMittyRightnowish-22-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fabric lines a shelf at the shop of clothing maker Sophia Mitty in South San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goofy tchotchkes and other knick knacks line the studio’s beams and sewing tables, creating mini rainbows. There’s so much to look at! In one corner there’s a shelf with vibrant retro fabrics, and across from that are peg boards with large spools of thread organized by hue. All the sewing chairs have bright fuzzy covers with big googly eyes on them- very much giving PeeWee Herman’s Playhouse. “I’m just always chasing color, basically, trying to figure out ways to get it in my life,” says the San Francisco bred artist.\u003c/p>\n\u003cfigure id=\"attachment_13932875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932875 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-800x533.jpg\" alt=\"Sketches of outfits and fabric samples for future designs. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67287_230725-SophiaMittyRightnowish-24-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophia Mitty dyes her fabrics and makes patterns of jackets and pants that pay homage to San Francisco, preserving stories of the city that are fleeting due to gentrification. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In foggy frisco, where gray skies are plentiful, Mitty’s colorful hand-dyed and painted garments pop. Her line of denim jackets and utility pants for femmes offer classic and clean silhouettes with a funky twist. They come in shades like tangerine, cherry red, kiwi green, even earthy pigments like rust. Marbled patterns are options too. “I use clothing as therapy, as a way to set the mood of the day. It’s the easiest way to change your everyday life or make some kind of difference.”\u003c/p>\n\u003cfigure id=\"attachment_13932873\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932873 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67257_230725-SophiaMittyRightnowish-12-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothing and pattern maker Sophia Mitty pulls out a jacket she made with a Doggie Diner design.\u003c/figcaption>\u003c/figure>\n\u003cp>While the clothing industry is infamous for creating waste, Mitty prioritizes sustainability. She’ll often source fabric remnants from \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> (a creative reuse warehouse in the Bayview) and upcycle them into tops and bottoms. “When I started, I was mostly making zero waste sets. So I’d get a roll of fabric for a dollar, then have to keep using the fabric until it’s gone. If I still have extra, I’d make a top, hat or something.”\u003c/p>\n\u003cp>Aside from the rich color palette, Mitty’s clothes are often embellished with chain stitched embroidery. For a \u003ca href=\"https://somarts.org/muniraisedme-virtual/\">recent exhibition\u003c/a> at SOMArts, she created a series of embroidered jackets and tops that paid homage to the San Francisco that raised her. Memories of eating at \u003ca href=\"https://www.doggiediner.info/\">Doggie Dinner\u003c/a> in the Sunset, buying hauls of clothes in the Mission at the inexpensive \u003ca href=\"https://missionlocal.org/2017/03/thrift-town-on-mission-shutters-after-45-years/\">Thrift Town\u003c/a>, and Muni rides across town are woven into Mitty’s garments. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this way, her clothes tell stories. They chronicle the love and heartbreak of what it means to remain in a city that is rapidly gentrifying.\u003c/p>\n\u003cp>Sunday August 13th, Mitty will be vending some of these embroidered jackets along with other “Mitsfits” (her line of tops and bottoms) at the \u003ca href=\"https://www.instagram.com/suckaflea/\">Sucka Flea Market\u003c/a> on 18th and Valencia in the Mission. Each garment is a one of one, so no two pants or jackets are the same.\u003c/p>\n\u003cp>On this episode of Rightnowish, clothing maker Sophia Mitty talks about stitching her pride for the 415, how color therapy influences her wardrobe, and why leaning into goofiness can help us dress for joy.\u003c/p>\n\u003cfigure id=\"attachment_13932872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932872\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-800x533.jpg\" alt=\"A woman with long wavy hair looks downward as she stitches white fabric with an industrial sewing machine. Colorful garments on a rack hang in the background.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67252_230725-SophiaMittyRightnowish-06-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothing and pattern maker Sophia Mitty sews in her shop in South San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4525424937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sound of cross stitch sewing machine ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty, Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. It’s basically you can draw with thread. But it’s pretty labor intensive. But I like it because it lasts forever, as you know, when it’s on the fabric. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sound of cross stitch sewing machine ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey friends, today on Rightnowish, we’re hanging out in the studio of clothing maker, Sophia Mitty. “The Stu” as she calls it is where she creates her line of utility pants and denim jackets. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s kind of like if a rainbow kind of just exploded in, like, a perfectly organized garage. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mhmm! That’s the vibe! [laughs] I’ve heard it’s like Pee Wee’s Playhouse or, like, the backstage of a theater… yeah i’ve heard a lot of weird stuff. [laughs] People come through the door and they’re like, “What is going on in here” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Her space is a wonderland of color! In one corner, there’s a shelf filled from top to bottom with bright vintage floral fabrics. Her thread and scissors are hung up on these peg boards organized by hue, kinda creating mini rainbows.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Plus she’s got a spray painted rainbow covering one wall with the phrase written, “Do it For the City”.The sewing chairs also got these funny googly eyes. There’s a lot going on in this space but it’s all really cute! You can’t help but feel inspired here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> I use clothing as therapy, as a way to set the mood of the day. It’s the easiest way to change your everyday life or make some kind of difference.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003cb>\u003cbr>\n\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">The clothes Sophia makes are classic silhouettes – boxy denim jackets and high waisted utility pants – the kind with deep pockets and straight legs that offer room and comfort around the thighs. But the colors are anything but simple, they really pop! And as a woman, it’s hard out here to buy pants that are sturdy, but colorful, functionable, but also cute and that’s what Sophia’s line is all about. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah so I make everything from scratch, so I also make the pattern. Like I draft the paper pattern, fit it adjust the.. all that, then sew the actual piece. So it is like a lot of, there’s a lot of parts to it [laughs] \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is probably the machine I use the most. It’s an industrial. So it’s made to, like, be used in factories and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sewing machine sound effects] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this episode we talk to Sophia about adorning ourselves through clothes, what stories our garments tell, and how colorful clothes can shift our mood and bring in some much needed playful energy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Marisol Medina-Cadena, go put on your flyest threads and stay with us. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b> \u003cspan style=\"font-weight: 400\">Walk me through, like, how you approach dressing yourself.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s about the weather for me mostly. And then also, like what I’m doing that day. So I’m one of those people that tries on like seven things and like I have a huge pile of clothes in my room. So it’s like it has to feel right. So there’s definitely a lot of emotion. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a big pants person. I usually start with the pants and then go from there and the rest of it usually falls together. I have a lot of like fits that I’ve already, like figured out. So I have like things that I’ll default to. But yeah, I try to mix it up as much as I can. I also, I love wearing stuff that I just made that’s always the most fun, but I also have clothes that I’ve made like five years ago that I still wear all the time. And I think that’s cool.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today is kind of a basic fit. I’m wearing these pants they’re… they’re like parrot tropical pants that I made. And just like a white shirt. I think the process of dressing is.. it’s like a ritual, and it’s a way to set your intentions for the day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Since you’re wearing something you made, why don’t you tell us how you got into making clothes in the first place? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">I got my first machine when I was 18, and I was probably about like 25, I’d say, when I started really getting into sewing. But yeah, I started making clothes because I could never find what I was looking for and I was always broke. So I started with, just like, the YouTube university style. Like, I definitely would take my clothes, trace them and make patterns like that, very experimental for a long time. Yeah, I started taking classes at City College. That’s really where I learned how to sew.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I basically got rid of all the clothes I had that I didn’t make, and I was like, I have to make all everything I wear all the time, in a way to like, force myself to learn everything. So basically I would just wear like these weird things that I made all the time. And I literally got rid of all the clothes in my closet to force myself to learn how to make everything. And it kind of worked. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Shopping, like you said, can be stressful because it’s like, this doesn’t fit me or like it’s a lot of emotions that come with shopping. But like when you’re able to craft your own thing, it’s like, “This is how I want it.” It’s not this like I need to conform to fit into this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cb>\u003ci> \u003c/i>\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it changes your mindset. It’s not like, what can I buy? Like what can I get? It’s like, what can I make? It’s… it feels different, like wearing stuff that you made and you know how it was made. I mean I do buy some basics sometimes like T-shirts and stuff like that, but I know how to make a T-shirt too. It’s like I could… I could technically not buy anything ever again. And that’s really exciting for me.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sustainability is important to Sophia. She buys fabric from SCRAP, it’s this recycling art depot off of Bayshore Boulevard in San Francisco and she upcycles it into tops and bottoms. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> So this is like the fabric wall. And then I, like, thicker. I’m super into, like, twill and denim and stuff that’s more usable for like pants and stuff. But yeah, I really love patterns, especially like vintage patterns. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, these are like very seventies color palettes, the florals. Yeah, you don’t… you don’t see fabric like that nowadays if you go. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m super obsessed with florals. Anytime I see, like, see a floral, I get it. And also fish. I really… These are like, all fish patterns. I’m a Pisces. So, you know, I got to collect the fish. For me, it’s either about the… either I really like the fabric and I’m like, I need to use this fabric or I’ve drawn something and I’m like, I need to make this happen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really obsessed with, like, storytelling through textiles. And if it’s possible to embed like, memories and stuff into fabric, which is kind of weird, but I think it’s possible.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sophia has joined forces with other dope local artists and screen printers to design and print fabric. Like this one \u003c/span>\u003ca href=\"https://www.instagram.com/p/Chm5p91pX-O/?igshid=MzRlODBiNWFlZA==\">\u003cspan style=\"font-weight: 400\">pair of white pants\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> she made for singer La Doña. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s got big blue roses printed on it. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of her going through the hanged items on rack] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sophia then proceeds to show me some of her works in progress that are hanging on the racks lining her studio. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> I really like the work pants style I’ve been kind of working on, but I feel like work pants are usually for the… the fit is for men. And I’ve been trying to work on pants that are more fitted for women, but also utilitarian. So they, the pockets are big, everything is baggy where it should be. Cause I feel like women’s pants are very constrictive. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I really resonate with what you’re saying about work pants. Not always. Like, like they don’t make that for women. Like, all the work pants I’ve had to buy are, like, from the men’s departments, which doesn’t bug me, but it just makes figuring out the sizing really hard. Yeah, because the sizing doesn’t translate. And I just wish like women’s pants was more, uh, boxy…do you feel like the way to make to kind of just blur all of that is by making your own clothes? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">I mean, with pants specifically, I think the pay off is the biggest. Just because trying to thrift pants is impossible. Buying pants like it’s also just like it’s a headache and it stresses me out. So just being… having that control over that little part of my life\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it helps me. I don’t know if I’m wearing bad, like, pants that don’t fit. It can like, ruin my whole day. Like it makes me so uncomfortable. I’m like, one of those people is like, super sensitive to, like, my senses. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These are kind of cool. These are like quilted checker. So like, I quilted the fabric first and then made the pants. But yeah, I’m super into trying to make pants that are just like as cool as the other parts of your clothes. I feel like people forget about pants. Oh, they’re just like, there’s jeans and that’s it. But that’s also like half your body and you can express a lot with your pants. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">I think im a huge color person. And I think, like, I believe in color therapy, like trying to have as much color in my life as possible \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s why I’m really drawn to your clothes. Like you got indigo, tangerine, kiwi green pants. Like, that’s what I’m trying to get my closet to look like.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, I do feel like overall clothes have become like they’ve tried to take all the color out. It’s like very neutral now. I’m just always chasing color. Basically, or like trying to figure out ways to put it, get it in my life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But yeah, I have a lot of friends that are very expressive and they really showed me how how powerful it can be to just, like, do your own thing and express yourself fully. And I feel like a lot of people hold back a lot. And it’s really sad. Especially, I don’t know, I feel like the techies… They don’t have that much, like, expression. And it shows like shows in the city. You can feel it. It’s a different vibe. But yeah just trying to use your clothes as like a protest to the draining of color and expression and people of color too though, like all of it. I feel like it’s connected.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Sophia’s garments are not only reminders to take up space and be colorful through self expression but they are also about preserving Frisco culture and 415 pride. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year she made a series of embroidered jackets and tops for an exhibit at SOMArts called “Muni Raised Me” These jackets are for sale now and on the racks back in her studio. She shows me one that has color blocks of orange, blue and red… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">This one was one of my favorites. This is the Muni Raised me. I made this jacket for the show. So it has like the muni bus and it’s made of scraps from other projects…colors that I identify with the city, like orange and red. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Muni bus colors and the Giants. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Old school Muni colors. Yeah. And the orange also. Just like poppies and monarch butterflies. Orange, I feel like is really strong and also red I really identify like with the Mission and just like, yeah, all that kind of culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Uh, what else we got in here? We got the Thrift Town. This is the Thrift Town one.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cb>\u003ci> \u003c/i>\u003c/b>\u003cspan style=\"font-weight: 400\">For folks who don’t know what\u003c/span> \u003cspan style=\"font-weight: 400\">Thrift Town was. Can you tell us?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, Thrift Town was basically, like, the best thrift store we had in the Mission. It was like, two stories, super big, very accessible. Like, everything was usually, like, under $10. So, yeah, I was raised. I went there like every Tuesday, I think, because they had some sale or something. Then there’s like other ones, this is like the Doggie Diner one. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yess!! Doggie Diner is like this chain of Bay Area burger joints. And they had that iconic plastic. I don’t even know what it’s made out of, but these huge dogs with cute a** noses, hat funny hats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah they’re super cute. And I just think they’re goofy. And I think that’s a part of the city, too. Just like the goofiness.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My favorite part of making clothes is wearing them. That’s the fun part. Also, sewing is fun, but yeah, I really enjoy having it on the body. Feeling, you know what I mean? Where you get to, like, experience them. And that’s also where you learn a lot, I think as someone that, like, makes the actual pattern, the way it fits is really important. And you can’t really get good at it unless you’re wearing the clothes you make. So yeah, I think it’s an important part of the process. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think, like, our generation didn’t grow up with like, sewing offered in schools. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Sophia Mitty: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> And so to make go, to go out of your way and learn it, whether you learned it from someone or you’re just online, you know, like that’s a very active rebellion in my opinion. You know, because you’re like, “I’m taking charge of making my own clothes.” For you was it kind of like that… that radical act? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> The moment I realized that I could make my own clothes was very transformational. It was very freeing. It was like, it’s no longer about how much money you have. It’s about how… what you can do. And like that was really empowering for me because I always felt very, like, limited. I feel like you learn a lot about who you are as a person and what you want to create.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know you’re teaching sewing now to high school students at Youth Art Exchange in the Excelsior. What’s it like watching them when they realize, like, “Yo, I’m capable of making something!”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, that’s like, really why I got into sewing just for that moment of, like, where they realize that they can do it and that it’s, like, not as hard as they thought it was. Once you start, you just start making whatever you can. And I really just I love working with them because they’re so excited. Sometimes I forget why I’m doing it and then I realize I remember that “why” when I work with them.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Like it seems like you have a lot of fun with your closet. And so I’m wondering, how does it feel to see other people wear your garments, adorn themselves with your garments that you, like, put so much love and intention behind? \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, it’s always like the best feeling. I love seeing people wear the clothes that I make. It’s like the full circle moment. And especially when they’re, like, happy and comfortable and it’s like, I feel like I did what I needed to do. Um. But yeah, it’s always so, um, so beautiful to see. I be crying [giggles] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Do your garments have, like, tags on them? Like with your name? Yeah, cause they’re literally wearing your name!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> Yeah, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">it’s like Mitsfits. My last name is Mitty. Um, yeh Mitsfits [giggles] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m exploring this theme of adornment, because in my personal life, I’m just not feeling like my best self. Feeling a little disconnected. And I’m like, kind of searching for different tools at my disposal to, like, feel more playful, feel more alive, feel more goofy. Do you have any advice for how I could use clothes in that way? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> Trying things that you normally don’t is super powerful. I think it’s easy to get stuck in the same patterns with clothing where it’s like stuff that you’re used to wearing. But yeah, it can take a lot of confidence to wear stuff that’s kind of weird. But at the same time, I think that’s the stuff that’s the most beneficial to people as, like, as a development of self to do something not because you think someone thinks it’s cool, but because you think it’s cool is super important to style in general. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sophia Mitty:\u003c/b>\u003cspan style=\"font-weight: 400\"> If it triggers joy for you, like that, there’s something there that you should investigate and try to figure out or, you know, not take it so seriously. I feel like clothes, as you get older, people are just so serious about it all the time and it’s like it’s not! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It doesn’t have to be like that. I think it’s… it can be super fun, it can be weird.Um And that’s like, I like making clothes because I have the control over what fabrics and like, what cuts and stuff. So there’s literally no limit. It’s being able to tell a story without having to say anything. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m kind of a quiet person off the bat, but wearing certain clothes can help me feel comfortable and able to be who I really am I guess. I think it’s also just a way to show up in the world as what you want to see. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Ya know, talking to Sophia, I’m reminded about the time and care that my own mom put into making clothes for me. The sounds of the machines, the magic of taking a piece of fabric and turning it into a wearable garment. That transformation of regular materials into something with character and personality. Sophia’s work absolutely has both of those traits. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huge thanks to Sophia Mitty for inviting me over to your studio to see your original clothes and all that goes into making them. It’s a lot! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re interested in supporting Sophia’s work, she’ll actually be vending some of her pieces at the \u003c/span>\u003ca href=\"https://www.instagram.com/suckaflea/\">\u003cspan style=\"font-weight: 400\">Sucka Flea Market\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> this coming Sunday on Valencia & 18th street in the Mission. You can also check out her clothes and order on Instagram \u003c/span>\u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">\u003cspan style=\"font-weight: 400\">@sophiamitty.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> That’s spelled s-o-p-h-i-a-m-i-t-t-y. Thanks again, Sophia!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now time to give thanks to the whole squad that makes this show possible. \u003c/span>\u003cspan style=\"font-weight: 400\">Xorje Olivares produced this episode. \u003c/span>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor. \u003c/span>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team also includes Pendarvis Harshaw, Sheree Bishop, and Ryce Stoughtenborough. \u003c/span>\u003cspan style=\"font-weight: 400\">Additional support from Jen Chien, Katie Sprenger, Cesar Saldaña. and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Marisol Medina-Cadena. Go out and wear what makes you feel fly. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"title": "Rightnowish Presents ‘Adorned’ : The Art of Self Expression & Affirmation",
"headTitle": "Rightnowish Presents ‘Adorned’ : The Art of Self Expression & Affirmation | KQED",
"content": "\u003cp>Since the beginning of time, people have found ways to express and celebrate themselves by making deliberate choices about how they show up in the world. Be it the haircuts, piercings, makeup or shoes we rock, personal style is an expression of what we think ourselves to be, intentions for how we want to feel, or the kind of energy we want to channel.\u003c/p>\n\u003cp>Over the next 5 weeks on the Rightnowish podcast, we’ll explore rituals of adornment. We’ll talk about the ways we decorate ourselves and our living spaces. We’ll all look at how these choices can energize, protect, and express our utmost desires and creativity.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Below are short descriptions of each artist we are highlighting in this series.\u003c/em>\n\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Fragrance\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13932651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfumer Mauricio Garcia looks at a silver lupine plant at Sign Hill Park in South San Francisco. Garcia crafts perfumes for his company Herbcraft Perfumery by drawing inspiration from the local ecology. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\"> \u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1811854346&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Having grown up in South San Francisco, perfumer Mauricio Garcia takes inspiration from flora and fauna that grows along the foggy coastline, golden grassland hills, and nearby redwood groves. Because of his deep reverence for nature’s fragrances, Garcia doesn’t use any plants that are endangered or threatened like vanilla or frankincense. Instead, he’ll craft similar scents using the modern perfumery technique of scent reconstruction.\u003c/p>\n\u003cp>His fragrance studio, \u003ca href=\"https://www.herbcraftperfumery.com/\">Herbcraft Perfumery,\u003c/a> also celebrates his cultural roots, highlighting ingredients and plants native to Mexico, like cempasuchitl (marigold), cacao, and mezcal. Garcia’s fragrances are not only made for use on the body but also on altars as a way to connect with the spirit world. He shares how anointing ourselves with perfume can help us set intentions for the energy we want to receive or project in the world.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Clothing\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13932239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932239\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-800x533.jpg\" alt=\"A person with long hair works on a sewing machine with clothes hanging on a rack behind them.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothing and pattern maker Sophia Mitty sews in her shop in South San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\"> \u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4525424937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Thriving in foggy San Francisco is all about dressing in layers. \u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">Sophia Mitty’s\u003c/a> handmaid utility jeans and denim jackets are the perfect pieces for a 415 wardrobe. The classic silhouettes come in vibrant hues, (like cherry red, kiwi green, and sunflower yellow), that Mitty hand dyes and paints. She says that dressing and making garments full of color is a protest to the cookie cutter, neutral colors that many workers in the tech industry wear while galavanting through the city. More so, Mitty says wearing color is good for uplifting the mood and for showing up in the world in a not so serious way.\u003c/p>\n\u003cp style=\"text-align: left\">Mitty’s love for working class San Francisco culture is literally woven into the fabric of her garments. She recently made a series of jackets for an exhibition, \u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">\u003cem>Muni Raised Me, \u003c/em>\u003c/a>using embroidery to recreate San Francisco imagery, like the Mission burrito, a lowrider, the golden gate bridge, and names of beloved but now closed San Francisco destinations like \u003ca href=\"https://missionlocal.org/2017/03/thrift-town-on-mission-shutters-after-45-years/\">Thrift Town\u003c/a>, \u003ca href=\"https://www.outsidelands.org/playland.php\">Playland\u003c/a>, and \u003ca href=\"https://www.sfgate.com/obscuresf/article/Disembodied-Doggie-Diner-landmark-16797892.php\">Doggie Diner\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Flowers\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13932230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932230 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-800x533.jpg\" alt=\"A person works with plants in a bright interior space.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Alicia Cotrim prepares flower stems for an arrangement at her shop, Beija Flor Flower Gallery in San Francisco’s Excelsior neighborhood. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8573961372&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003cbr>\n\u003c/em>Jessica Alicia Cotrim is a floral designer and owner of the \u003ca href=\"https://www.beijaflordesigns.com/\">Beija Flor Flower Gallery\u003c/a>. The shop’s name is a homage to her Brazilian-Salvadoran roots. “Beija” in Portuguese translates to “kiss” and when paired with the word for flower, it means hummingbird. The symbolism of the hummingbird in Salvadoran and other Latino cultures represents spirits of loved ones that have passed on. In this way, Cotrim says Beija Flor is about honoring her family’s origins and sacrifices that poured into her craftsmanship and work ethic.\u003c/p>\n\u003cp>Raised in San Francisco’s Excelsior neighborhood where her business now stands, Cotrim is adorning her community with floral beauty, offering bouquets ranging from $10 – $50. Access is important to the business owner, so when she has the opportunity to redistribute leftover flowers from arrangements designed for high end events, she does. On this episode, she talks to us about how flowers offer healing and nourishment for the soul.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Jewelry\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13933526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13933526 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Chelsea_COVER-800x556.jpg\" alt=\"Chelsea poses for the camera wearing an orange jacket and pants. A picture of a chained necklace with beaded letters reads MAHAL.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER.jpg 1473w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Macalino-Calalay makes custom jewelry for clients, including this one pictured on the right that she made for cookbook writer Abi Balingit. With colorful beads strung into letters, it spells “Mahal” which means beloved in Tagalog. \u003ccite>(left image by Misa Rasmussen, right image by Chelsea Macalino-Calalay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5108830999&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003cbr>\n\u003c/em>Going by the moniker “hyphy wyphy,” Chelsea Macalino-Calalay’s jewelry business, \u003ca href=\"https://wyphys.com/\">Wyphys\u003c/a>, is an ode to her Bay Area upbringing and her community of friends and femmes that support her. Macalino-Calalay specializes in creating gold plated jewelry with spunky charms and one of a kind vintage beads. The bling is playful but nonetheless makes a statement.\u003c/p>\n\u003cp>One recent \u003ca href=\"https://wyphys.com/ready2wear/the-palengke-collection\">jewelry collection\u003c/a> was inspired by the palengke or wet markets that Macalino-Calalay frequented while growing up in the Philippines. By naming her pieces in Tagalog and using folklore and \u003ca href=\"https://wyphys.com/ready2wear/fil-am-history\">cultural staples\u003c/a> like sapin-sapin (Filipino sticky rice cakes) as references for her work, the Wyphys brand is a celebration of the Filipinx diaspora.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Adorned With Reflection \u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3829244528&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After weeks of being immersed in this topic of adornment, host Marisol Medina-Cadena and producer Xorje Olivares take a moment to talk on the mic about the insights they received on self expression and affirmation while crafting the series . They will also share moments that didn’t make it into the final series and how the series impacted their personal lives.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the beginning of time, people have found ways to express and celebrate themselves by making deliberate choices about how they show up in the world. Be it the haircuts, piercings, makeup or shoes we rock, personal style is an expression of what we think ourselves to be, intentions for how we want to feel, or the kind of energy we want to channel.\u003c/p>\n\u003cp>Over the next 5 weeks on the Rightnowish podcast, we’ll explore rituals of adornment. We’ll talk about the ways we decorate ourselves and our living spaces. We’ll all look at how these choices can energize, protect, and express our utmost desires and creativity.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cem>Below are short descriptions of each artist we are highlighting in this series.\u003c/em>\n\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Fragrance\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13932651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932651 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS67215_230721-MauricioGomezPerfumer-17-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfumer Mauricio Garcia looks at a silver lupine plant at Sign Hill Park in South San Francisco. Garcia crafts perfumes for his company Herbcraft Perfumery by drawing inspiration from the local ecology. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\"> \u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC1811854346&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Having grown up in South San Francisco, perfumer Mauricio Garcia takes inspiration from flora and fauna that grows along the foggy coastline, golden grassland hills, and nearby redwood groves. Because of his deep reverence for nature’s fragrances, Garcia doesn’t use any plants that are endangered or threatened like vanilla or frankincense. Instead, he’ll craft similar scents using the modern perfumery technique of scent reconstruction.\u003c/p>\n\u003cp>His fragrance studio, \u003ca href=\"https://www.herbcraftperfumery.com/\">Herbcraft Perfumery,\u003c/a> also celebrates his cultural roots, highlighting ingredients and plants native to Mexico, like cempasuchitl (marigold), cacao, and mezcal. Garcia’s fragrances are not only made for use on the body but also on altars as a way to connect with the spirit world. He shares how anointing ourselves with perfume can help us set intentions for the energy we want to receive or project in the world.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Clothing\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13932239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932239\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-800x533.jpg\" alt=\"A person with long hair works on a sewing machine with clothes hanging on a rack behind them.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67252_230725-SophiaMittyRightnowish-06-BL-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clothing and pattern maker Sophia Mitty sews in her shop in South San Francisco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\"> \u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4525424937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Thriving in foggy San Francisco is all about dressing in layers. \u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">Sophia Mitty’s\u003c/a> handmaid utility jeans and denim jackets are the perfect pieces for a 415 wardrobe. The classic silhouettes come in vibrant hues, (like cherry red, kiwi green, and sunflower yellow), that Mitty hand dyes and paints. She says that dressing and making garments full of color is a protest to the cookie cutter, neutral colors that many workers in the tech industry wear while galavanting through the city. More so, Mitty says wearing color is good for uplifting the mood and for showing up in the world in a not so serious way.\u003c/p>\n\u003cp style=\"text-align: left\">Mitty’s love for working class San Francisco culture is literally woven into the fabric of her garments. She recently made a series of jackets for an exhibition, \u003ca href=\"https://www.instagram.com/sophiamitty/?hl=en\">\u003cem>Muni Raised Me, \u003c/em>\u003c/a>using embroidery to recreate San Francisco imagery, like the Mission burrito, a lowrider, the golden gate bridge, and names of beloved but now closed San Francisco destinations like \u003ca href=\"https://missionlocal.org/2017/03/thrift-town-on-mission-shutters-after-45-years/\">Thrift Town\u003c/a>, \u003ca href=\"https://www.outsidelands.org/playland.php\">Playland\u003c/a>, and \u003ca href=\"https://www.sfgate.com/obscuresf/article/Disembodied-Doggie-Diner-landmark-16797892.php\">Doggie Diner\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Flowers\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13932230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932230 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-800x533.jpg\" alt=\"A person works with plants in a bright interior space.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/RS67339_230727-BeijaFlorGallery-04-BL-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Alicia Cotrim prepares flower stems for an arrangement at her shop, Beija Flor Flower Gallery in San Francisco’s Excelsior neighborhood. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8573961372&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003cbr>\n\u003c/em>Jessica Alicia Cotrim is a floral designer and owner of the \u003ca href=\"https://www.beijaflordesigns.com/\">Beija Flor Flower Gallery\u003c/a>. The shop’s name is a homage to her Brazilian-Salvadoran roots. “Beija” in Portuguese translates to “kiss” and when paired with the word for flower, it means hummingbird. The symbolism of the hummingbird in Salvadoran and other Latino cultures represents spirits of loved ones that have passed on. In this way, Cotrim says Beija Flor is about honoring her family’s origins and sacrifices that poured into her craftsmanship and work ethic.\u003c/p>\n\u003cp>Raised in San Francisco’s Excelsior neighborhood where her business now stands, Cotrim is adorning her community with floral beauty, offering bouquets ranging from $10 – $50. Access is important to the business owner, so when she has the opportunity to redistribute leftover flowers from arrangements designed for high end events, she does. On this episode, she talks to us about how flowers offer healing and nourishment for the soul.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Adorned With Jewelry\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13933526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13933526 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Chelsea_COVER-800x556.jpg\" alt=\"Chelsea poses for the camera wearing an orange jacket and pants. A picture of a chained necklace with beaded letters reads MAHAL.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Chelsea_COVER.jpg 1473w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Macalino-Calalay makes custom jewelry for clients, including this one pictured on the right that she made for cookbook writer Abi Balingit. With colorful beads strung into letters, it spells “Mahal” which means beloved in Tagalog. \u003ccite>(left image by Misa Rasmussen, right image by Chelsea Macalino-Calalay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5108830999&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cem>\u003cbr>\n\u003c/em>Going by the moniker “hyphy wyphy,” Chelsea Macalino-Calalay’s jewelry business, \u003ca href=\"https://wyphys.com/\">Wyphys\u003c/a>, is an ode to her Bay Area upbringing and her community of friends and femmes that support her. Macalino-Calalay specializes in creating gold plated jewelry with spunky charms and one of a kind vintage beads. The bling is playful but nonetheless makes a statement.\u003c/p>\n\u003cp>One recent \u003ca href=\"https://wyphys.com/ready2wear/the-palengke-collection\">jewelry collection\u003c/a> was inspired by the palengke or wet markets that Macalino-Calalay frequented while growing up in the Philippines. By naming her pieces in Tagalog and using folklore and \u003ca href=\"https://wyphys.com/ready2wear/fil-am-history\">cultural staples\u003c/a> like sapin-sapin (Filipino sticky rice cakes) as references for her work, the Wyphys brand is a celebration of the Filipinx diaspora.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cb>Adorned With Reflection \u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3829244528&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After weeks of being immersed in this topic of adornment, host Marisol Medina-Cadena and producer Xorje Olivares take a moment to talk on the mic about the insights they received on self expression and affirmation while crafting the series . They will also share moments that didn’t make it into the final series and how the series impacted their personal lives.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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