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"title": "How a San Francisco Family Helped Bring Japanese Denim to the U.S.",
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"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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"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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"title": "For Bay Area Designer Diarra Bousso, Math + Art = Happiness",
"headTitle": "For Bay Area Designer Diarra Bousso, Math + Art = Happiness | KQED",
"content": "\u003cp>In her home office on the Peninsula, Senegalese fashion designer Diarra Bousso holds up a laptop, describing how she comes up with the prints that bring her \u003ca href=\"https://diarrablu.com/\">DIARRABLU\u003c/a> resort wear line to life.\u003c/p>\n\u003cp>“My process mostly starts from parametric equations,” Bousso says. “Like, you can either draw a circle or you can graph a circle.” Bousso prefers the latter.\u003c/p>\n\u003cp>As she talks, I get flashbacks of algebra class. (Bousso has also taught high school math; her \u003ca href=\"https://www.google.com/url?q=https://www.youcubed.org/maths-and-art/&sa=D&source=docs&ust=1685568771397617&usg=AOvVaw3V3TZTPoWjFBDjSlULn5Nq\">lesson plans using fashion design\u003c/a> are used by teachers across the country.)\u003c/p>\n\u003cfigure id=\"attachment_13929902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-800x532.jpg\" alt=\"a laptop screen with a design app open\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Diarra Bousso demonstrates how she designs a pattern. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So this is like a sine polar curve, and it has variables called A and B. But just changing those variables, you get different shapes,” Bousso says as she uses the cursor to slide one variable’s tab to the right and a new pattern emerges.\u003c/p>\n\u003cp>Bousso screenshots the pattern in the \u003ca href=\"https://www.desmos.com/\">Desmos graphing calculator app\u003c/a> she’s been using and, seconds later, we’re in the prototyping phase. This involves a different, proprietary app. “I’m super proud of it. One of our engineers built it and I get to visualize what this [pattern] would look like on DIARRABLU pieces,” Bousso says, as the freshly designed print appears on a caftan silhouette, one of the line’s signature styles. “It’s all math.”\u003c/p>\n\u003cfigure id=\"attachment_13929907\" class=\"wp-caption aligncenter\" style=\"max-width: 484px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Design-process-1.gif\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Design-process-1.gif\" alt=\"an animated graph and blue and orange caftan\" width=\"484\" height=\"608\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A demonstration of the Diarrablu design process \u003ccite>(Courtesy Diarrablu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 33, Bousso is certainly the sum of all her parts thus far: the mathematician, the artist, the designer, the traveler, the educator, the star student, the blogger. She’s also the survivor of a life-threatening accident that ultimately reset her life path. After years of doubting her artistic side in favor of pursuing a career in finance, Bousso has found her sweet spot as a “creative mathematician” — a title she learned about through one of her mentors, Stanford professor and author \u003ca href=\"https://ed.stanford.edu/faculty/joboaler\">Jo Boaler\u003c/a>.\u003c/p>\n\u003cp>When Bousso claimed that title, “it was like the first day I felt my identity had a niche. This is the name of what I’ve been doing my whole life, I just didn’t know.”\u003c/p>\n\u003ch2>Math versus art\u003c/h2>\n\u003cp>Bousso grew up in Dakar, Senegal, in what she calls a typical Senegalese family — her parents were very dedicated to her education. Her biggest inspiration, she says, is her father, El Hadji Amadou Gueye, who was the first person in his family to go to elementary school and later earned his MBA in France. Her mother, Khoudia Dionna, “was the best of her class,” Bousso says. “So she was all about academic excellence and she would be the one tutoring us after school.”\u003c/p>\n\u003cp>Bousso, who has two sisters, says she wasn’t very outgoing with other people, but “I was very talkative to myself. Like, I would have full on board meetings with myself in my room with different characters.”\u003c/p>\n\u003cp>Despite being a creative child, Bousso got the most praise in school for her math skills. In Senegal’s education system, after middle school, kids pick either a science track or a literature and social studies track; it was obvious for Bousso to go the science route, she says, “even though I wish they never did that separation.”\u003c/p>\n\u003cp>Being selected for national math competitions gave Bousso validation, and a sense of self: “Besides being a weird kid, I also could be a cool numbers kid, and I really liked that identity.”\u003c/p>\n\u003cfigure id=\"attachment_13929919\" class=\"wp-caption alignright\" style=\"max-width: 306px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-child-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-child-1.jpg\" alt=\"an old photo of a young Black girl wearing a white dress carrying a parasol\" width=\"306\" height=\"197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-child-1.jpg 306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-child-1-160x103.jpg 160w\" sizes=\"(max-width: 306px) 100vw, 306px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A childhood photo of Bousso in Dakar, Senegal. \u003ccite>(Courtesy of Diarra Bousso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bousso’s GPA — one of the highest in the country at the time — got a teacher’s attention and, subsequently, a nomination to the United World College program in Norway, where Bousso spent her last two years of high school studying with teens from all over the world. She then received a full scholarship to Macalester University in Minnesota, where she studied math, economics and statistics — “the jobs my dad told me when I was 11 had a future,” Bousso recalls. Her creative side was still tugging on her, but she only casually indulged it. “I took some art classes on the side, but I didn’t feel confident, because I felt like I had real artists in my class and I thought I was a fake artist.”\u003c/p>\n\u003ch2>All in on the numbers\u003c/h2>\n\u003cp>In 2011, Bousso’s first job out of college was on Wall Street, trading mortgages.\u003c/p>\n\u003cp>“In my head I’m like, ‘oh my God, my family would be so proud. I’m in finance,’ which is what my dad did. Like, I’ve made it. Life is good,” Bousso remembers.\u003c/p>\n\u003cp>But within a few months, Bousso says the sparkle of her new life started to fade. On the weekends, she’d unleash her creative side, taking pictures of New York City life for a blog she started, then dread going back to work on Monday.\u003c/p>\n\u003cp>“And it slowly started getting deeper,” Bousso says. “I started asking myself very big existential questions, like, ‘What is the purpose of life? What am I here for?’ I got really depressed and I was very embarrassed about it because I [had] never failed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a lesson she appreciates now — the value of failing at something and learning from it — but at the time, Bousso lost a lot of weight and struggled with sleep. “I was just a zombie,” she recalls.\u003c/p>\n\u003cp>One day, an aunt visited Bousso in her 51st floor apartment and noticed Bousso had taken the window guards out. “She knew it was time to get me out of there because the depression had gotten very far,” Bousso says. “She called my parents and said, ‘She needs to stop working and she needs to go home, because this is not going to end well.’”\u003c/p>\n\u003ch2>A literal awakening\u003c/h2>\n\u003cp>With the support of her family, in July 2012, Bousso went on medical leave from her job on Wall Street and returned home to Senegal, with a plan to rest and rejuvenate.\u003c/p>\n\u003cp>Instead, she got into a harrowing accident that left her in a coma. “I got to Senegal in July, but I woke up in August,” she says. Bousso, who shies away from discussing the details of the accident itself, suffered short-term memory loss, along with broken limbs and teeth that required numerous surgeries and six months of recovery. Yet when Bousso reflects on that time now, she’s grateful.\u003c/p>\n\u003cp>“I woke up from this coma and [it] was the biggest blessing ever. Because what happens when you lose your memories is you don’t realize you’re depressed. So I’m starting from scratch.”\u003c/p>\n\u003cfigure id=\"attachment_13929935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-800x534.jpg\" alt=\"a tall Black model wears a white and orange patterned dress against a blue sky\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Model Athiec Geng wears DIARRABLU clothing and jewelry. \u003ccite>(Nada Satte, Othman Essahat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As part of her memory recovery, Bousso worked with a counselor who suggested she draw to help remember the day’s events. “I had a drawing book. I would draw things and talk about it and I’d remember it,” Bousso says. Soon, she started a Tumblr blog to post drawings, codes and inspirational quotes.\u003c/p>\n\u003cp>Since the accident, Bousso considers 2012, her (re)birth year. “Because I didn’t have any understanding of what’s real and what’s not, I would just dream boldly. I would be on Tumblr writing a paragraph on how I want to one day be an artist and have a show in Milan or how I want to travel the world and have an art company, or how I want to be free.”\u003c/p>\n\u003ch2>Feeling free\u003c/h2>\n\u003cp>With a newfound vision for her life, Bousso started making her Tumblr posts a reality. She quit her Wall Street job, where she’d still been on medical leave, withdrew her 401K and established her company, DB Group (for her initials).\u003c/p>\n\u003cp>Then she started traveling. “The goal for me was to find who I am and where I fit,” she says. Bousso used her trips to learn more about the fashion industry — visiting Paris during Fashion Week, checking out a textile factory while in Istanbul and visiting manufacturing companies while in China.\u003c/p>\n\u003cfigure id=\"attachment_13929923\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n.jpg\" alt=\"a photo of a slim Black woman in a dark dress and white jacket standing in front of a maroon building with Chinese lettering\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An Instagram post from Bousso’s trip to China in 2014. \u003ccite>(Diarra Bousso/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bousso captured her travels for \u003ca href=\"https://www.instagram.com/thediarrablu/\">Instagram\u003c/a>, where she also began \u003ca href=\"https://www.instagram.com/p/aRM1-5vA30/?igshid=MTc4MmM1YmI2Ng%3D%3D\">selling handbags she’d made\u003c/a> — the first seeds of her fashion company.\u003c/p>\n\u003cp>When her travels eventually slowed, Bousso started contending with imposter syndrome. The majority of her friends were still in finance and headed to premier business schools, and she couldn’t help but compare herself to them. But Bousso’s inner compass had gotten stronger in the last few years. She stayed in Dakar and took a substitute teaching job at an elementary school, allowing her to make money and keep creating.\u003c/p>\n\u003cp>The experience ended up sparking something in her, and she applied to Stanford to study math education. “And this was the best choice ever because I did it for me,” she says. “After all these years of soul searching, I found out what I want to do. I want to do something math-related, but I can still be creative.”\u003c/p>\n\u003cp>Bousso arrived in the Bay Area in the summer of 2017 to attend Stanford’s Teacher Education Program. There, she met professor Jo Boaler, who “saw math the way I did: \u003ca href=\"https://www.youtube.com/watch?v=JGx9xm_JJgg\">from a creative angle\u003c/a>,” Bousso says.\u003c/p>\n\u003cp>On her own time, Bousso was creating a \u003ca href=\"https://www.britannica.com/science/Fibonacci-number\">Fibonacci sequence\u003c/a>, but for clothing patterns. “So each pattern is a sum of the past two patterns. And I showed [Boaler] what I was doing, with permutations and combinations for swimsuits.”\u003c/p>\n\u003cp>Boaler was thrilled by Bousso’s creativity, and suggested that she could also use her art to create a math lesson plan for kids. It was a huge “aha!” moment for Bousso.\u003c/p>\n\u003cp>“I regard her work creating lessons that incorporate design and fashion as really important for students everywhere,” Boaler writes in an email. (Boaler, Boussou and another colleague are currently working on a book of lesson plans that teach algebra through design.)\u003c/p>\n\u003cfigure id=\"attachment_13929927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-800x600.jpg\" alt=\"a group of five people, a family from Senegal, pose at a graduation ceremony from Stanford\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Bousso’s mother, Khoudia Dionna, sister Marieme Gueye, Bousso, her father El Hadji Amadou Gueye and sister Sokhna Gueye at her graduation from Stanford Graduate School of Education in Palo Alto in 2018. \u003ccite>(Courtesy Diarra Bousso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, Bousso began teaching at a public high school in San Mateo, using her design-based lesson plans. Outside of school hours, she was on WhatsApp and Zoom with her mother and the Dakar team, who were making clothes for the company (now officially DIARRABLU and no longer DB Group), to sell on Instagram.\u003c/p>\n\u003cp>“I was exhausted,” Bousso recounts. “I didn’t have time to sit down and draw patterns one by one by hand. So I started using equations.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aNESB1sKtlM\u003c/p>\n\u003cp>Working with a decimal tool she used in teaching, she started to graph her own patterns. “When you change the number, you get a new pattern. So I can get ten patterns for the price of one, in terms of time.”\u003c/p>\n\u003cp>Gaining steam with the brand, Bousso traveled to New York, and ended up in a room with \u003cem>Vogue\u003c/em> USA fashion director Virginia Smith, who asked her to leave some samples. A month later, without notice, Bousso saw \u003ca href=\"https://www.bellanaijastyle.com/vogue-diarrablu-kendall-jenner/\">model Kendall Jenner wearing a piece from her collection \u003c/a>in a spread for the magazine.\u003c/p>\n\u003cp>The \u003cem>Vogue\u003c/em> feature brought a flurry of buzz and press, but Bousso still loved both teaching and designing. It wasn’t until 2021 that she shifted to DIARRABLU full time.\u003c/p>\n\u003ch2>Livin’ la vida DIARRABLU\u003c/h2>\n\u003cp>Back in her home office on the Peninsula, Bousso arranges some fabric swatch boards. Nearby, a wall is covered in framed DIARRABLU art prints: While resort wear is the bread and butter of the company, Bousso sees DIARRABLU as a lifestyle brand. In addition to clothing, the company has made handbags, shoes, swimsuits, jewelry, wall art and digital art. (Bousso’s longer-term vision includes luxury real estate, as well, with decor inspired by her clothing.)\u003c/p>\n\u003cfigure id=\"attachment_13929929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-800x532.jpg\" alt=\"a wall of framed art\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Diarra Bousso sits on the wall at her home in Hillsborough. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want [DIARRABLU] to be the destination for the wanderer. Like the person that I looked at when I looked out a window on Wall Street while I was depressed and whose life I wanted to have. The dreamer.”\u003c/p>\n\u003cp>Like many designers of her generation, she is committed to making her products as responsibly and sustainably as possible. “People are being paid fair wages, we’re using responsible material, and we are not creating more waste,” Bousso says, before adding that the fashion industry is one of the most wasteful on the planet: “85% of garments actually end up in landfills annually.”\u003c/p>\n\u003cp>In light of that, all of DIARRABLU’s clothing is made-to-order. That also makes it easier for the line’s sizing to be inclusive; it goes up to 3X. “That was just common sense for me. Like, why would you release something and only make some people have access to it?” Bousso asks.\u003c/p>\n\u003cfigure id=\"attachment_13929930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarrablu-group-model-shot-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarrablu-group-model-shot-800x1067.jpg\" alt=\"a group of Black women models in various sizes model colorful dresses\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Models wearing DIARRABLU designs in a range of sizes. Size inclusivity is a tenet of the brand. \u003ccite>(Nada Satte, Othman Essahat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The made-to-order approach is also, in part, tradition. “My mom is very fashionable. Senegalese women, they all have a tailor who makes their clothes. It’s cheaper to get your clothes made than to buy them. And it’s just the culture,” Bousso says.\u003c/p>\n\u003cp>While Bousso designs her patterns wherever she happens to be — which is most often the Bay Area — the clothes are made by local artisans in Dakar. It’s a blend of technology and tradition that makes Bousso, who now confidently rejects the idea of claiming a single silo, very happy.\u003c/p>\n\u003cp>“When I look at the life I live now, I feel so fulfilled because of the work I do and because of how I chose to follow my dreams. And I’m so grateful that I got the opportunities to do that.”\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 Senegal-born founder of DIARRABLU has created resort wear, handbags and widely used math lessons — and counts Kendall Jenner as a fan.",
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"title": "For Bay Area Designer Diarra Bousso, Math + Art = Happiness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her home office on the Peninsula, Senegalese fashion designer Diarra Bousso holds up a laptop, describing how she comes up with the prints that bring her \u003ca href=\"https://diarrablu.com/\">DIARRABLU\u003c/a> resort wear line to life.\u003c/p>\n\u003cp>“My process mostly starts from parametric equations,” Bousso says. “Like, you can either draw a circle or you can graph a circle.” Bousso prefers the latter.\u003c/p>\n\u003cp>As she talks, I get flashbacks of algebra class. (Bousso has also taught high school math; her \u003ca href=\"https://www.google.com/url?q=https://www.youcubed.org/maths-and-art/&sa=D&source=docs&ust=1685568771397617&usg=AOvVaw3V3TZTPoWjFBDjSlULn5Nq\">lesson plans using fashion design\u003c/a> are used by teachers across the country.)\u003c/p>\n\u003cfigure id=\"attachment_13929902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-800x532.jpg\" alt=\"a laptop screen with a design app open\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-with-computer_ksuzuki_diarrablu-0144-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Diarra Bousso demonstrates how she designs a pattern. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So this is like a sine polar curve, and it has variables called A and B. But just changing those variables, you get different shapes,” Bousso says as she uses the cursor to slide one variable’s tab to the right and a new pattern emerges.\u003c/p>\n\u003cp>Bousso screenshots the pattern in the \u003ca href=\"https://www.desmos.com/\">Desmos graphing calculator app\u003c/a> she’s been using and, seconds later, we’re in the prototyping phase. This involves a different, proprietary app. “I’m super proud of it. One of our engineers built it and I get to visualize what this [pattern] would look like on DIARRABLU pieces,” Bousso says, as the freshly designed print appears on a caftan silhouette, one of the line’s signature styles. “It’s all math.”\u003c/p>\n\u003cfigure id=\"attachment_13929907\" class=\"wp-caption aligncenter\" style=\"max-width: 484px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Design-process-1.gif\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Design-process-1.gif\" alt=\"an animated graph and blue and orange caftan\" width=\"484\" height=\"608\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A demonstration of the Diarrablu design process \u003ccite>(Courtesy Diarrablu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 33, Bousso is certainly the sum of all her parts thus far: the mathematician, the artist, the designer, the traveler, the educator, the star student, the blogger. She’s also the survivor of a life-threatening accident that ultimately reset her life path. After years of doubting her artistic side in favor of pursuing a career in finance, Bousso has found her sweet spot as a “creative mathematician” — a title she learned about through one of her mentors, Stanford professor and author \u003ca href=\"https://ed.stanford.edu/faculty/joboaler\">Jo Boaler\u003c/a>.\u003c/p>\n\u003cp>When Bousso claimed that title, “it was like the first day I felt my identity had a niche. This is the name of what I’ve been doing my whole life, I just didn’t know.”\u003c/p>\n\u003ch2>Math versus art\u003c/h2>\n\u003cp>Bousso grew up in Dakar, Senegal, in what she calls a typical Senegalese family — her parents were very dedicated to her education. Her biggest inspiration, she says, is her father, El Hadji Amadou Gueye, who was the first person in his family to go to elementary school and later earned his MBA in France. Her mother, Khoudia Dionna, “was the best of her class,” Bousso says. “So she was all about academic excellence and she would be the one tutoring us after school.”\u003c/p>\n\u003cp>Bousso, who has two sisters, says she wasn’t very outgoing with other people, but “I was very talkative to myself. Like, I would have full on board meetings with myself in my room with different characters.”\u003c/p>\n\u003cp>Despite being a creative child, Bousso got the most praise in school for her math skills. In Senegal’s education system, after middle school, kids pick either a science track or a literature and social studies track; it was obvious for Bousso to go the science route, she says, “even though I wish they never did that separation.”\u003c/p>\n\u003cp>Being selected for national math competitions gave Bousso validation, and a sense of self: “Besides being a weird kid, I also could be a cool numbers kid, and I really liked that identity.”\u003c/p>\n\u003cfigure id=\"attachment_13929919\" class=\"wp-caption alignright\" style=\"max-width: 306px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-child-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarra-child-1.jpg\" alt=\"an old photo of a young Black girl wearing a white dress carrying a parasol\" width=\"306\" height=\"197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-child-1.jpg 306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarra-child-1-160x103.jpg 160w\" sizes=\"(max-width: 306px) 100vw, 306px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A childhood photo of Bousso in Dakar, Senegal. \u003ccite>(Courtesy of Diarra Bousso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bousso’s GPA — one of the highest in the country at the time — got a teacher’s attention and, subsequently, a nomination to the United World College program in Norway, where Bousso spent her last two years of high school studying with teens from all over the world. She then received a full scholarship to Macalester University in Minnesota, where she studied math, economics and statistics — “the jobs my dad told me when I was 11 had a future,” Bousso recalls. Her creative side was still tugging on her, but she only casually indulged it. “I took some art classes on the side, but I didn’t feel confident, because I felt like I had real artists in my class and I thought I was a fake artist.”\u003c/p>\n\u003ch2>All in on the numbers\u003c/h2>\n\u003cp>In 2011, Bousso’s first job out of college was on Wall Street, trading mortgages.\u003c/p>\n\u003cp>“In my head I’m like, ‘oh my God, my family would be so proud. I’m in finance,’ which is what my dad did. Like, I’ve made it. Life is good,” Bousso remembers.\u003c/p>\n\u003cp>But within a few months, Bousso says the sparkle of her new life started to fade. On the weekends, she’d unleash her creative side, taking pictures of New York City life for a blog she started, then dread going back to work on Monday.\u003c/p>\n\u003cp>“And it slowly started getting deeper,” Bousso says. “I started asking myself very big existential questions, like, ‘What is the purpose of life? What am I here for?’ I got really depressed and I was very embarrassed about it because I [had] never failed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a lesson she appreciates now — the value of failing at something and learning from it — but at the time, Bousso lost a lot of weight and struggled with sleep. “I was just a zombie,” she recalls.\u003c/p>\n\u003cp>One day, an aunt visited Bousso in her 51st floor apartment and noticed Bousso had taken the window guards out. “She knew it was time to get me out of there because the depression had gotten very far,” Bousso says. “She called my parents and said, ‘She needs to stop working and she needs to go home, because this is not going to end well.’”\u003c/p>\n\u003ch2>A literal awakening\u003c/h2>\n\u003cp>With the support of her family, in July 2012, Bousso went on medical leave from her job on Wall Street and returned home to Senegal, with a plan to rest and rejuvenate.\u003c/p>\n\u003cp>Instead, she got into a harrowing accident that left her in a coma. “I got to Senegal in July, but I woke up in August,” she says. Bousso, who shies away from discussing the details of the accident itself, suffered short-term memory loss, along with broken limbs and teeth that required numerous surgeries and six months of recovery. Yet when Bousso reflects on that time now, she’s grateful.\u003c/p>\n\u003cp>“I woke up from this coma and [it] was the biggest blessing ever. Because what happens when you lose your memories is you don’t realize you’re depressed. So I’m starting from scratch.”\u003c/p>\n\u003cfigure id=\"attachment_13929935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-800x534.jpg\" alt=\"a tall Black model wears a white and orange patterned dress against a blue sky\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DIYA-Mele-Top-Bela-Orange-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Model Athiec Geng wears DIARRABLU clothing and jewelry. \u003ccite>(Nada Satte, Othman Essahat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As part of her memory recovery, Bousso worked with a counselor who suggested she draw to help remember the day’s events. “I had a drawing book. I would draw things and talk about it and I’d remember it,” Bousso says. Soon, she started a Tumblr blog to post drawings, codes and inspirational quotes.\u003c/p>\n\u003cp>Since the accident, Bousso considers 2012, her (re)birth year. “Because I didn’t have any understanding of what’s real and what’s not, I would just dream boldly. I would be on Tumblr writing a paragraph on how I want to one day be an artist and have a show in Milan or how I want to travel the world and have an art company, or how I want to be free.”\u003c/p>\n\u003ch2>Feeling free\u003c/h2>\n\u003cp>With a newfound vision for her life, Bousso started making her Tumblr posts a reality. She quit her Wall Street job, where she’d still been on medical leave, withdrew her 401K and established her company, DB Group (for her initials).\u003c/p>\n\u003cp>Then she started traveling. “The goal for me was to find who I am and where I fit,” she says. Bousso used her trips to learn more about the fashion industry — visiting Paris during Fashion Week, checking out a textile factory while in Istanbul and visiting manufacturing companies while in China.\u003c/p>\n\u003cfigure id=\"attachment_13929923\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n.jpg\" alt=\"a photo of a slim Black woman in a dark dress and white jacket standing in front of a maroon building with Chinese lettering\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/12445866_982611168483713_1792960674_n-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An Instagram post from Bousso’s trip to China in 2014. \u003ccite>(Diarra Bousso/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bousso captured her travels for \u003ca href=\"https://www.instagram.com/thediarrablu/\">Instagram\u003c/a>, where she also began \u003ca href=\"https://www.instagram.com/p/aRM1-5vA30/?igshid=MTc4MmM1YmI2Ng%3D%3D\">selling handbags she’d made\u003c/a> — the first seeds of her fashion company.\u003c/p>\n\u003cp>When her travels eventually slowed, Bousso started contending with imposter syndrome. The majority of her friends were still in finance and headed to premier business schools, and she couldn’t help but compare herself to them. But Bousso’s inner compass had gotten stronger in the last few years. She stayed in Dakar and took a substitute teaching job at an elementary school, allowing her to make money and keep creating.\u003c/p>\n\u003cp>The experience ended up sparking something in her, and she applied to Stanford to study math education. “And this was the best choice ever because I did it for me,” she says. “After all these years of soul searching, I found out what I want to do. I want to do something math-related, but I can still be creative.”\u003c/p>\n\u003cp>Bousso arrived in the Bay Area in the summer of 2017 to attend Stanford’s Teacher Education Program. There, she met professor Jo Boaler, who “saw math the way I did: \u003ca href=\"https://www.youtube.com/watch?v=JGx9xm_JJgg\">from a creative angle\u003c/a>,” Bousso says.\u003c/p>\n\u003cp>On her own time, Bousso was creating a \u003ca href=\"https://www.britannica.com/science/Fibonacci-number\">Fibonacci sequence\u003c/a>, but for clothing patterns. “So each pattern is a sum of the past two patterns. And I showed [Boaler] what I was doing, with permutations and combinations for swimsuits.”\u003c/p>\n\u003cp>Boaler was thrilled by Bousso’s creativity, and suggested that she could also use her art to create a math lesson plan for kids. It was a huge “aha!” moment for Bousso.\u003c/p>\n\u003cp>“I regard her work creating lessons that incorporate design and fashion as really important for students everywhere,” Boaler writes in an email. (Boaler, Boussou and another colleague are currently working on a book of lesson plans that teach algebra through design.)\u003c/p>\n\u003cfigure id=\"attachment_13929927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-800x600.jpg\" alt=\"a group of five people, a family from Senegal, pose at a graduation ceremony from Stanford\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FAMILY-Khoudia-Dionna-Marieme-Gueye-Diarra-El-Hadji-Amadou-Gueye-Sokhna-Gueye.JPG.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Bousso’s mother, Khoudia Dionna, sister Marieme Gueye, Bousso, her father El Hadji Amadou Gueye and sister Sokhna Gueye at her graduation from Stanford Graduate School of Education in Palo Alto in 2018. \u003ccite>(Courtesy Diarra Bousso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, Bousso began teaching at a public high school in San Mateo, using her design-based lesson plans. Outside of school hours, she was on WhatsApp and Zoom with her mother and the Dakar team, who were making clothes for the company (now officially DIARRABLU and no longer DB Group), to sell on Instagram.\u003c/p>\n\u003cp>“I was exhausted,” Bousso recounts. “I didn’t have time to sit down and draw patterns one by one by hand. So I started using equations.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aNESB1sKtlM'\n title='//www.youtube.com/embed/aNESB1sKtlM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Working with a decimal tool she used in teaching, she started to graph her own patterns. “When you change the number, you get a new pattern. So I can get ten patterns for the price of one, in terms of time.”\u003c/p>\n\u003cp>Gaining steam with the brand, Bousso traveled to New York, and ended up in a room with \u003cem>Vogue\u003c/em> USA fashion director Virginia Smith, who asked her to leave some samples. A month later, without notice, Bousso saw \u003ca href=\"https://www.bellanaijastyle.com/vogue-diarrablu-kendall-jenner/\">model Kendall Jenner wearing a piece from her collection \u003c/a>in a spread for the magazine.\u003c/p>\n\u003cp>The \u003cem>Vogue\u003c/em> feature brought a flurry of buzz and press, but Bousso still loved both teaching and designing. It wasn’t until 2021 that she shifted to DIARRABLU full time.\u003c/p>\n\u003ch2>Livin’ la vida DIARRABLU\u003c/h2>\n\u003cp>Back in her home office on the Peninsula, Bousso arranges some fabric swatch boards. Nearby, a wall is covered in framed DIARRABLU art prints: While resort wear is the bread and butter of the company, Bousso sees DIARRABLU as a lifestyle brand. In addition to clothing, the company has made handbags, shoes, swimsuits, jewelry, wall art and digital art. (Bousso’s longer-term vision includes luxury real estate, as well, with decor inspired by her clothing.)\u003c/p>\n\u003cfigure id=\"attachment_13929929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-800x532.jpg\" alt=\"a wall of framed art\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Wall-Art_ksuzuki_diarrablu-0142-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Diarra Bousso sits on the wall at her home in Hillsborough. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want [DIARRABLU] to be the destination for the wanderer. Like the person that I looked at when I looked out a window on Wall Street while I was depressed and whose life I wanted to have. The dreamer.”\u003c/p>\n\u003cp>Like many designers of her generation, she is committed to making her products as responsibly and sustainably as possible. “People are being paid fair wages, we’re using responsible material, and we are not creating more waste,” Bousso says, before adding that the fashion industry is one of the most wasteful on the planet: “85% of garments actually end up in landfills annually.”\u003c/p>\n\u003cp>In light of that, all of DIARRABLU’s clothing is made-to-order. That also makes it easier for the line’s sizing to be inclusive; it goes up to 3X. “That was just common sense for me. Like, why would you release something and only make some people have access to it?” Bousso asks.\u003c/p>\n\u003cfigure id=\"attachment_13929930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarrablu-group-model-shot-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Diarrablu-group-model-shot-800x1067.jpg\" alt=\"a group of Black women models in various sizes model colorful dresses\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Diarrablu-group-model-shot-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Models wearing DIARRABLU designs in a range of sizes. Size inclusivity is a tenet of the brand. \u003ccite>(Nada Satte, Othman Essahat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The made-to-order approach is also, in part, tradition. “My mom is very fashionable. Senegalese women, they all have a tailor who makes their clothes. It’s cheaper to get your clothes made than to buy them. And it’s just the culture,” Bousso says.\u003c/p>\n\u003cp>While Bousso designs her patterns wherever she happens to be — which is most often the Bay Area — the clothes are made by local artisans in Dakar. It’s a blend of technology and tradition that makes Bousso, who now confidently rejects the idea of claiming a single silo, very happy.\u003c/p>\n\u003cp>“When I look at the life I live now, I feel so fulfilled because of the work I do and because of how I chose to follow my dreams. And I’m so grateful that I got the opportunities to do that.”\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>\u003c/p>\u003c/div>",
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"content": "\u003cp>Fashion is flash. Fashion is beauty. Fashion is \u003cem>right freaking now\u003c/em>. And believe it or not, fashion is resistance.\u003c/p>\n\u003cp>That last line is the mantra of Júlio César da Silva Lima, the visionary cofounder of the Rio de Janeiro modeling agency Jacaré é Moda. We meet Julio at an open casting call at the beginning of \u003cem>Favela é Moda (Favela Is Fashion)\u003c/em>, Brazilian filmmaker Emilio Domingos’ marvelous 2019 documentary, preaching his philosophy and teaching runway technique to stylish young Black women and men.[aside label=\"Related Stories\" postID=\"arts_13923936,arts_13924879\"]\u003c/p>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">\u003cem>Favela é Moda\u003c/em>\u003c/a>, screening Wednesday, Feb. 15 at the Museum of the African Diaspora, is the first of two films in the museum’s screening-and-discussion series accompanying \u003cem>The New Black Vanguard: Photography Between Art and Fashion\u003c/em> (continuing through March 5).\u003c/p>\n\u003cp>Julio’s agency aims to place Black models in the upper strata of the fashion world. But that’s just one (admittedly huge) component of his business model. Crucially, he located the agency in the Jacarezinho favela, the kind of environment where his aspiring models were born, formed and live. “Can you imagine the favela being its own tool for empowerment?” he declares.\u003c/p>\n\u003cp>The true stars of \u003cem>Favela é Moda — \u003c/em>aside from Julio’s dynamic, inspiring presence — are the self-aware, gender-affirming beauties he’s accepted into his program. Mature and articulate, they don’t reek of ambition nor lust for fame, riches or movie-star consorts. They know who they are, they know how the world sees them (that is, they know how white Rio sees Black favela residents) and they have the courage to express their sexual identities — and their style — on the street.\u003c/p>\n\u003cp>Structurally, the film follows a group of new recruits through their agency training. The program is designed, surprisingly, to build trust and camaraderie among the models rather than to groom and elevate future stars. There isn’t a whiff of competition — each person has a unique and different presentation — which distinguishes the film from a reality TV show. Along the way, the typical audience expectation of a big payoff — getting the job — evaporates, and we are rewarded with a celebration of identity instead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VejgQz5x3_4\u003c/p>\n\u003cp>I met up with longtime California Newsreel director Cornelius Moore, who chose the MoAD films, for a casual conversation over mint tea at Arizmendi Bakery in the Mission. When I suggested that \u003cem>Favela é Moda\u003c/em> wasn’t a political film, he pushed back, noting the various ways in which the aspiring models convey their experiences of racism, poverty, homophobia and lack of opportunity.\u003c/p>\n\u003cp>Moore is right, of course. The compliment I intended to pay to Emilio Domingos (whose upcoming documentary, \u003cem>Black Rio! Black Power!\u003c/em>, is a cultural history propelled by a music scene) is that he didn’t make an overtly political film — that is, a polemic. For example, there are almost no shots of the favelas. The intent isn’t to sanitize the models’ backgrounds, but to avoid defining them (and imprisoning them) by their environment. For that’s precisely what Rio’s upper classes do.\u003c/p>\n\u003cp>\u003cem>Favela é Moda\u003c/em> makes its points organically, through its brave, resilient, endearing and beautiful characters. They are people you’ll relish spending time with.\u003c/p>\n\u003cp>If identity is the motor of \u003cem>Favela é Moda\u003c/em>, fashion as full-on self-expression provides the juju and heartbeat of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">\u003cem>BANGAOLOGIA: The Science of Style\u003c/em> (2016)\u003c/a>, screening Feb. 22 at MoAD. José Eduardo Paulino dos Santos’ colorful survey of Angola’s flamboyant signature style, Banga, is immersive and entertaining, but not altogether persuasive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fPwESt8L98U\u003c/p>\n\u003cp>The filmmaker is better known, at home and abroad, as the musician, clothing designer and TV producer Coréon Dú. So he’s welcomed into seemingly every cultural corner of Angola, including rural villages where traditional, heavily symbolic clothes and accessories are still embraced. But he finds his thrill primarily in Luanda, the capital, which brims with everyday people displaying their Banga.\u003c/p>\n\u003cp>Banga, according to one of the academics interviewed by Dú, is “a style that isn’t discreet, but the exact opposite. The less discreet, the better, because that’s the only way to stand out.” Papa Swegué, a fastidious Kudoro (music and dance) artist, is the perfect exemplar, sporting a dressy pink suit with short pants that is all the more impressive for its incongruity in his dusty, low-income neighborhood.\u003c/p>\n\u003cp>Everyone Dú talks to knows what Banga is, even if they can’t quite define it. It’s a fusion of style, vanity and performance (including movement) that can be expressed through the singular handiwork of ace tailors or curious combinations of mass-market clothes combed from street stalls. Modernity and tradition intersect and overlap. Above all, seemingly every Angolan asserts that Banga is unique to Angolans. I’m not sure \u003cem>BANGAOLOGIA\u003c/em> makes that case, but it’s pleasures are undeniable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film bounces to New York, Los Angeles and Lisbon to suggest the influence of Angolan style and attitude on those urban cultures. Angolan models have landed a foothold in the fashion world and, even with their astonishing beauty, their defining quality is their self-possession.\u003c/p>\n\u003cp>Angola, on the west coast of southern Africa, was a Portuguese colony for centuries. A civil war erupted when the country gained its independence in 1975. The professors and cultural critics interviewed by Dú don’t delve deeply into the roots of Banga, perhaps because the post-colonial impulse to claim and assert one’s identity and style — that is, to proclaim one’s freedom — is self-evident.\u003c/p>\n\u003cp>The one unambiguous takeaway from \u003cem>BANGAOLOGIA\u003c/em>, expressed most directly through clothes and posture and attitude rather than testimony, is that Black is beautiful. Maybe that was a radical concept half a century (or more) ago, but surely not anymore.\u003c/p>\n\u003cp>Finally, if you go to \u003cem>BANGAOLOGIA\u003c/em>, dress up a bit. It doesn’t have to be a pink suit with short pants, necessarily, but something with flash. Just as it’s wise to see a movie about food on a full stomach, you’ll feel better if you’re sporting some style.\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>‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">Favela é Moda\u003c/a>‘ screens at 6:30 p.m. Wednesday, Feb. 15 at the Museum of the African Diaspora in San Francisco. ‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">BANGAOLOGIA\u003c/a>‘ screens at 6:30 p.m. the following Wednesday, Feb. 22. For details, visit \u003ca href=\"https://www.moadsf.org/\">moadsf.org\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fashion is flash. Fashion is beauty. Fashion is \u003cem>right freaking now\u003c/em>. And believe it or not, fashion is resistance.\u003c/p>\n\u003cp>That last line is the mantra of Júlio César da Silva Lima, the visionary cofounder of the Rio de Janeiro modeling agency Jacaré é Moda. We meet Julio at an open casting call at the beginning of \u003cem>Favela é Moda (Favela Is Fashion)\u003c/em>, Brazilian filmmaker Emilio Domingos’ marvelous 2019 documentary, preaching his philosophy and teaching runway technique to stylish young Black women and men.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">\u003cem>Favela é Moda\u003c/em>\u003c/a>, screening Wednesday, Feb. 15 at the Museum of the African Diaspora, is the first of two films in the museum’s screening-and-discussion series accompanying \u003cem>The New Black Vanguard: Photography Between Art and Fashion\u003c/em> (continuing through March 5).\u003c/p>\n\u003cp>Julio’s agency aims to place Black models in the upper strata of the fashion world. But that’s just one (admittedly huge) component of his business model. Crucially, he located the agency in the Jacarezinho favela, the kind of environment where his aspiring models were born, formed and live. “Can you imagine the favela being its own tool for empowerment?” he declares.\u003c/p>\n\u003cp>The true stars of \u003cem>Favela é Moda — \u003c/em>aside from Julio’s dynamic, inspiring presence — are the self-aware, gender-affirming beauties he’s accepted into his program. Mature and articulate, they don’t reek of ambition nor lust for fame, riches or movie-star consorts. They know who they are, they know how the world sees them (that is, they know how white Rio sees Black favela residents) and they have the courage to express their sexual identities — and their style — on the street.\u003c/p>\n\u003cp>Structurally, the film follows a group of new recruits through their agency training. The program is designed, surprisingly, to build trust and camaraderie among the models rather than to groom and elevate future stars. There isn’t a whiff of competition — each person has a unique and different presentation — which distinguishes the film from a reality TV show. Along the way, the typical audience expectation of a big payoff — getting the job — evaporates, and we are rewarded with a celebration of identity instead.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VejgQz5x3_4'\n title='//www.youtube.com/embed/VejgQz5x3_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I met up with longtime California Newsreel director Cornelius Moore, who chose the MoAD films, for a casual conversation over mint tea at Arizmendi Bakery in the Mission. When I suggested that \u003cem>Favela é Moda\u003c/em> wasn’t a political film, he pushed back, noting the various ways in which the aspiring models convey their experiences of racism, poverty, homophobia and lack of opportunity.\u003c/p>\n\u003cp>Moore is right, of course. The compliment I intended to pay to Emilio Domingos (whose upcoming documentary, \u003cem>Black Rio! Black Power!\u003c/em>, is a cultural history propelled by a music scene) is that he didn’t make an overtly political film — that is, a polemic. For example, there are almost no shots of the favelas. The intent isn’t to sanitize the models’ backgrounds, but to avoid defining them (and imprisoning them) by their environment. For that’s precisely what Rio’s upper classes do.\u003c/p>\n\u003cp>\u003cem>Favela é Moda\u003c/em> makes its points organically, through its brave, resilient, endearing and beautiful characters. They are people you’ll relish spending time with.\u003c/p>\n\u003cp>If identity is the motor of \u003cem>Favela é Moda\u003c/em>, fashion as full-on self-expression provides the juju and heartbeat of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">\u003cem>BANGAOLOGIA: The Science of Style\u003c/em> (2016)\u003c/a>, screening Feb. 22 at MoAD. José Eduardo Paulino dos Santos’ colorful survey of Angola’s flamboyant signature style, Banga, is immersive and entertaining, but not altogether persuasive.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fPwESt8L98U'\n title='//www.youtube.com/embed/fPwESt8L98U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The filmmaker is better known, at home and abroad, as the musician, clothing designer and TV producer Coréon Dú. So he’s welcomed into seemingly every cultural corner of Angola, including rural villages where traditional, heavily symbolic clothes and accessories are still embraced. But he finds his thrill primarily in Luanda, the capital, which brims with everyday people displaying their Banga.\u003c/p>\n\u003cp>Banga, according to one of the academics interviewed by Dú, is “a style that isn’t discreet, but the exact opposite. The less discreet, the better, because that’s the only way to stand out.” Papa Swegué, a fastidious Kudoro (music and dance) artist, is the perfect exemplar, sporting a dressy pink suit with short pants that is all the more impressive for its incongruity in his dusty, low-income neighborhood.\u003c/p>\n\u003cp>Everyone Dú talks to knows what Banga is, even if they can’t quite define it. It’s a fusion of style, vanity and performance (including movement) that can be expressed through the singular handiwork of ace tailors or curious combinations of mass-market clothes combed from street stalls. Modernity and tradition intersect and overlap. Above all, seemingly every Angolan asserts that Banga is unique to Angolans. I’m not sure \u003cem>BANGAOLOGIA\u003c/em> makes that case, but it’s pleasures are undeniable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film bounces to New York, Los Angeles and Lisbon to suggest the influence of Angolan style and attitude on those urban cultures. Angolan models have landed a foothold in the fashion world and, even with their astonishing beauty, their defining quality is their self-possession.\u003c/p>\n\u003cp>Angola, on the west coast of southern Africa, was a Portuguese colony for centuries. A civil war erupted when the country gained its independence in 1975. The professors and cultural critics interviewed by Dú don’t delve deeply into the roots of Banga, perhaps because the post-colonial impulse to claim and assert one’s identity and style — that is, to proclaim one’s freedom — is self-evident.\u003c/p>\n\u003cp>The one unambiguous takeaway from \u003cem>BANGAOLOGIA\u003c/em>, expressed most directly through clothes and posture and attitude rather than testimony, is that Black is beautiful. Maybe that was a radical concept half a century (or more) ago, but surely not anymore.\u003c/p>\n\u003cp>Finally, if you go to \u003cem>BANGAOLOGIA\u003c/em>, dress up a bit. It doesn’t have to be a pink suit with short pants, necessarily, but something with flash. Just as it’s wise to see a movie about food on a full stomach, you’ll feel better if you’re sporting some style.\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>‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-favela-e-moda-favela-is-fashion\">Favela é Moda\u003c/a>‘ screens at 6:30 p.m. Wednesday, Feb. 15 at the Museum of the African Diaspora in San Francisco. ‘\u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-bangaologia-the-science-of-style\">BANGAOLOGIA\u003c/a>‘ screens at 6:30 p.m. the following Wednesday, Feb. 22. For details, visit \u003ca href=\"https://www.moadsf.org/\">moadsf.org\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vivienne Westwood, Influential Fashion Maverick and Punk Icon, Dies at 81",
"headTitle": "Vivienne Westwood, Influential Fashion Maverick and Punk Icon, Dies at 81 | KQED",
"content": "\u003cp>Vivienne Westwood, an influential fashion maverick who played a key role in the punk movement, died Thursday at 81.\u003c/p>\n\u003cp>Westwood’s eponymous fashion house announced her death on social media platforms, saying she died peacefully. A cause of death was not disclosed.\u003c/p>\n\u003cp>“Vivienne continued to do the things she loved, up until the last moment, designing, working on her art, writing her book, and changing the world for the better,” the statement said. “She led an amazing life. Her innovation and impact over the last 60 years has been immense and will continue into the future.”\u003c/p>\n\u003cp>Westwood’s fashion career began in the 1970s with the punk explosion, when her radical approach to urban street style took the world by storm. But she went on to enjoy a long career highlighted by a string of triumphant runway shows in London, Paris, Milan and New York.\u003c/p>\n\u003cp>The name Westwood became synonymous with style and attitude even as she shifted focus from year to year. Her range was vast and her work was never predictable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As her stature grew, she seemed to transcend fashion, with her designs shown in museum collections throughout the world. The young woman who had scorned the British establishment eventually became one of its leading lights, and she used her elite position to lobby for environmental reforms even as she kept her hair dyed the bright shade of orange that became her trademark.\u003c/p>\n\u003cfigure id=\"attachment_13923142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg\" alt='Older white woman with finger in mouth and other hand pointing to \"I love crap\" button' width=\"1200\" height=\"794\" class=\"size-full wp-image-13923142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dame Vivienne Westwood attends the Vivienne Westwood AW20/21 presentation and exhibition during London Fashion Week, February 2020 at London’s Serpentine Gallery. \u003ccite>(Dave Benett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Bolton, curator of the Costume Institute at the Metropolitan Museum of New York, said Westwood would be celebrated for pioneering the punk look, pairing a radical fashion approach with the anarchic punk sounds developed by the Sex Pistols, managed by her then-partner, Malcolm McLaren.\u003c/p>\n\u003cp>“They gave the punk movement a look, a style, and it was so radical it broke from anything in the past,” he said. “The ripped shirts, the safety pins, the provocative slogans. She introduced postmodernism. It was so influential from the mid-70s. The punk movement has never dissipated — it’s become part of our fashion vocabulary. It’s mainstream now.”\u003c/p>\n\u003cp>Westwood’s long career was full of contradictions: She was a lifelong rebel who was honored several times by Queen Elizabeth II. She dressed like a teenager even in her 60s and became an outspoken advocate of fighting global warming, warning of planetary doom if climate change was not controlled.\u003c/p>\n\u003cp>In her punk days, Westwood’s clothes were often intentionally shocking: T-shirts decorated with drawings of naked boys, and “bondage pants” with sadomasochistic overtones were standard fare in her popular London shops. But Westwood was able to make the transition from punk to haute couture without missing a beat, keeping her career going without stooping to self-caricature.\u003c/p>\n\u003cp>“She was always trying to reinvent fashion. Her work is provocative, it’s transgressive. It’s very much rooted in the English tradition of pastiche and irony and satire. She is very proud of her Englishness, and still she sends it up,” Bolton said.\u003c/p>\n\u003cp>One of those transgressive and contentious designs featured a swastika, an inverted image of Jesus Christ on the cross and the word “Destroy.” In an autobiography written with Ian Kelly, she said it was meant as part of a statement against politicians torturing people, citing Chile’s Augusto Pinochet. When asked if she regretted the swastika design in a 2009 interview with Time magazine, Westwood said no.\u003c/p>\n\u003cp>“I don’t, because we were just saying to the older generation, ‘We don’t accept your values or your taboos, and you’re all fascists,’” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13923141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg\" alt=\"Group of people walking, talking, carrying flags and two men wearing headdresses\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13923141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benny Wenda, the founder of the Free West Papua Campaign and Chairman of the United Liberation Movement for West Papua politically exiled in the UK, Dame Vivienne Westwood and Joe Corré and Extinction Rebellion on their way to a protest action. \u003ccite>(Ollie Millington/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She approached her work with gusto in her early years, but over time seemed to tire of the clamor and buzz. After decades of designing, she sometimes spoke wistfully of moving beyond fashion so she could concentrate on environmental matters and educational projects.\u003c/p>\n\u003cp>“Fashion can be so boring,” she told The Associated Press after unveiling one of her new collections at a 2010 show. “I’m trying to find something else to do.” At the time, she was talking up plans to start a television series about art and science.\u003c/p>\n\u003cp>Her runway shows were always the most chic events, drawing stars from the glittery world of film, music, and television who wanted to bask in Westwood’s reflected glory. But still she spoke out against consumerism and conspicuous consumption, even urging people not to buy her expensive, beautifully made clothes.\u003c/p>\n\u003cp>“I just tell people, stop buying clothes,” she said. “Why not protect this gift of life while we have it? I don’t take the attitude that destruction is inevitable. Some of us would like to stop that and help people survive.”\u003c/p>\n\u003cp>Westwood was a self-taught designer with no formal fashion training. She told \u003cem>Marie Claire\u003c/em> that she learned how to make her own clothes as a teenager by following patterns. When she wanted to sell 1950s-style clothes at her first shop, she found old clothes in markets and took them apart to understand the cut and construction.\u003c/p>\n\u003cp>“It was not a very efficient way of making clothes, but it was a great way for me to build up my technique,” she told the magazine.\u003c/p>\n\u003cp>Westwood was born in the Derbyshire village of Glossop on April 8, 1941. Her family moved to London in 1957 and she attended art school for one term.\u003c/p>\n\u003cp>She met McLaren in the 1960s while working as a primary school teacher after separating from her first husband, Derek Westwood. She and McLaren opened a small shop on the King’s Road in Chelsea in 1971, the tail end of the “Swinging London” era ushered in by the Beatles and the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13923140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg\" alt=\"White man holds up peace sign, white woman drapes arm over his neck\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13923140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm McLaren and Vivienne Westwood outside Bow Street Magistrate Court after being remanded on bail for fighting in 1977. \u003ccite>(Bill Kennedy/Mirrorpix/Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shop changed its name and focus several times, operating as “SEX” — Westwood and McLaren were fined in 1975 for an “indecent exhibition” there — and “World’s End” and “Seditionaries.”\u003c/p>\n\u003cp>“Vivienne is gone and the world is already a less interesting place. Love you Viv,” \u003ca href=\"https://twitter.com/ChrissieHynde/status/1608579881528623104\">tweeted Chrissie Hynde\u003c/a>, the frontwoman of the Pretenders and a former worker at the couple’s store.\u003c/p>\n\u003cp>Westwood moved into a fresh type of designing with her “Pirates” collection, exhibited in her first catwalk show in 1981. That breakthrough is credited with taking Westwood in a more traditional direction, showing her interest in incorporating historical British designs into contemporary clothes.\u003c/p>\n\u003cp>It was also an important step in an ongoing rapprochement between Westwood and the fashion world. The rebel eventually became one of its most celebrated stars, known for reinterpreting opulent dresses from the past and often finding inspiration in 18th century paintings.\u003c/p>\n\u003cp>But she still found ways to shock: Her Statue of Liberty corset in 1987 is remembered as the start of “underwear as outerwear” trend.\u003c/p>\n\u003cp>She eventually branched out into a range of business activities, including an alliance with Italian designer Giorgio Armani, and developed her ready-to-wear Red Label line, her more exclusive Gold Label line, a menswear collection and fragrances called Boudoir and Libertine. Westwood shops opened in New York, Hong Kong, Milan and several other major cities.\u003c/p>\n\u003cp>She was named designer of the year by the British Fashion Council in 1990 and 1991.\u003c/p>\n\u003cp>Her uneasy relationship with the British establishment is perhaps best exemplified by her 1992 trip to Buckingham Palace to receive an Order of the British Empire medal from Queen Elizabeth II: She wore no underwear, and posed for photographers in a way that made that abundantly clear.\u003c/p>\n\u003cp>Apparently the queen was not offended: Westwood was invited back to receive the even more auspicious designation of Dame Commander of the British Empire — the female equivalent of a knighthood — in 2006.\u003c/p>\n\u003cp>Westwood is survived by her second husband, Austrian-born Andreas Kronthaler, and her two sons.\u003c/p>\n\u003cp>The first, fashion photographer Ben Westwood, was her son with Derek Westwood. The second, Joe Corré — her son with McLaren — co-founded the upscale Agent Provocateur lingerie line.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Katz, a longtime correspondent for The Associated Press who died in 2020, was the principal writer of this obituary.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vivienne Westwood, an influential fashion maverick who played a key role in the punk movement, died Thursday at 81.\u003c/p>\n\u003cp>Westwood’s eponymous fashion house announced her death on social media platforms, saying she died peacefully. A cause of death was not disclosed.\u003c/p>\n\u003cp>“Vivienne continued to do the things she loved, up until the last moment, designing, working on her art, writing her book, and changing the world for the better,” the statement said. “She led an amazing life. Her innovation and impact over the last 60 years has been immense and will continue into the future.”\u003c/p>\n\u003cp>Westwood’s fashion career began in the 1970s with the punk explosion, when her radical approach to urban street style took the world by storm. But she went on to enjoy a long career highlighted by a string of triumphant runway shows in London, Paris, Milan and New York.\u003c/p>\n\u003cp>The name Westwood became synonymous with style and attitude even as she shifted focus from year to year. Her range was vast and her work was never predictable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As her stature grew, she seemed to transcend fashion, with her designs shown in museum collections throughout the world. The young woman who had scorned the British establishment eventually became one of its leading lights, and she used her elite position to lobby for environmental reforms even as she kept her hair dyed the bright shade of orange that became her trademark.\u003c/p>\n\u003cfigure id=\"attachment_13923142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg\" alt='Older white woman with finger in mouth and other hand pointing to \"I love crap\" button' width=\"1200\" height=\"794\" class=\"size-full wp-image-13923142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dame Vivienne Westwood attends the Vivienne Westwood AW20/21 presentation and exhibition during London Fashion Week, February 2020 at London’s Serpentine Gallery. \u003ccite>(Dave Benett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Bolton, curator of the Costume Institute at the Metropolitan Museum of New York, said Westwood would be celebrated for pioneering the punk look, pairing a radical fashion approach with the anarchic punk sounds developed by the Sex Pistols, managed by her then-partner, Malcolm McLaren.\u003c/p>\n\u003cp>“They gave the punk movement a look, a style, and it was so radical it broke from anything in the past,” he said. “The ripped shirts, the safety pins, the provocative slogans. She introduced postmodernism. It was so influential from the mid-70s. The punk movement has never dissipated — it’s become part of our fashion vocabulary. It’s mainstream now.”\u003c/p>\n\u003cp>Westwood’s long career was full of contradictions: She was a lifelong rebel who was honored several times by Queen Elizabeth II. She dressed like a teenager even in her 60s and became an outspoken advocate of fighting global warming, warning of planetary doom if climate change was not controlled.\u003c/p>\n\u003cp>In her punk days, Westwood’s clothes were often intentionally shocking: T-shirts decorated with drawings of naked boys, and “bondage pants” with sadomasochistic overtones were standard fare in her popular London shops. But Westwood was able to make the transition from punk to haute couture without missing a beat, keeping her career going without stooping to self-caricature.\u003c/p>\n\u003cp>“She was always trying to reinvent fashion. Her work is provocative, it’s transgressive. It’s very much rooted in the English tradition of pastiche and irony and satire. She is very proud of her Englishness, and still she sends it up,” Bolton said.\u003c/p>\n\u003cp>One of those transgressive and contentious designs featured a swastika, an inverted image of Jesus Christ on the cross and the word “Destroy.” In an autobiography written with Ian Kelly, she said it was meant as part of a statement against politicians torturing people, citing Chile’s Augusto Pinochet. When asked if she regretted the swastika design in a 2009 interview with Time magazine, Westwood said no.\u003c/p>\n\u003cp>“I don’t, because we were just saying to the older generation, ‘We don’t accept your values or your taboos, and you’re all fascists,’” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13923141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg\" alt=\"Group of people walking, talking, carrying flags and two men wearing headdresses\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13923141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benny Wenda, the founder of the Free West Papua Campaign and Chairman of the United Liberation Movement for West Papua politically exiled in the UK, Dame Vivienne Westwood and Joe Corré and Extinction Rebellion on their way to a protest action. \u003ccite>(Ollie Millington/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She approached her work with gusto in her early years, but over time seemed to tire of the clamor and buzz. After decades of designing, she sometimes spoke wistfully of moving beyond fashion so she could concentrate on environmental matters and educational projects.\u003c/p>\n\u003cp>“Fashion can be so boring,” she told The Associated Press after unveiling one of her new collections at a 2010 show. “I’m trying to find something else to do.” At the time, she was talking up plans to start a television series about art and science.\u003c/p>\n\u003cp>Her runway shows were always the most chic events, drawing stars from the glittery world of film, music, and television who wanted to bask in Westwood’s reflected glory. But still she spoke out against consumerism and conspicuous consumption, even urging people not to buy her expensive, beautifully made clothes.\u003c/p>\n\u003cp>“I just tell people, stop buying clothes,” she said. “Why not protect this gift of life while we have it? I don’t take the attitude that destruction is inevitable. Some of us would like to stop that and help people survive.”\u003c/p>\n\u003cp>Westwood was a self-taught designer with no formal fashion training. She told \u003cem>Marie Claire\u003c/em> that she learned how to make her own clothes as a teenager by following patterns. When she wanted to sell 1950s-style clothes at her first shop, she found old clothes in markets and took them apart to understand the cut and construction.\u003c/p>\n\u003cp>“It was not a very efficient way of making clothes, but it was a great way for me to build up my technique,” she told the magazine.\u003c/p>\n\u003cp>Westwood was born in the Derbyshire village of Glossop on April 8, 1941. Her family moved to London in 1957 and she attended art school for one term.\u003c/p>\n\u003cp>She met McLaren in the 1960s while working as a primary school teacher after separating from her first husband, Derek Westwood. She and McLaren opened a small shop on the King’s Road in Chelsea in 1971, the tail end of the “Swinging London” era ushered in by the Beatles and the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13923140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg\" alt=\"White man holds up peace sign, white woman drapes arm over his neck\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13923140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm McLaren and Vivienne Westwood outside Bow Street Magistrate Court after being remanded on bail for fighting in 1977. \u003ccite>(Bill Kennedy/Mirrorpix/Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shop changed its name and focus several times, operating as “SEX” — Westwood and McLaren were fined in 1975 for an “indecent exhibition” there — and “World’s End” and “Seditionaries.”\u003c/p>\n\u003cp>“Vivienne is gone and the world is already a less interesting place. Love you Viv,” \u003ca href=\"https://twitter.com/ChrissieHynde/status/1608579881528623104\">tweeted Chrissie Hynde\u003c/a>, the frontwoman of the Pretenders and a former worker at the couple’s store.\u003c/p>\n\u003cp>Westwood moved into a fresh type of designing with her “Pirates” collection, exhibited in her first catwalk show in 1981. That breakthrough is credited with taking Westwood in a more traditional direction, showing her interest in incorporating historical British designs into contemporary clothes.\u003c/p>\n\u003cp>It was also an important step in an ongoing rapprochement between Westwood and the fashion world. The rebel eventually became one of its most celebrated stars, known for reinterpreting opulent dresses from the past and often finding inspiration in 18th century paintings.\u003c/p>\n\u003cp>But she still found ways to shock: Her Statue of Liberty corset in 1987 is remembered as the start of “underwear as outerwear” trend.\u003c/p>\n\u003cp>She eventually branched out into a range of business activities, including an alliance with Italian designer Giorgio Armani, and developed her ready-to-wear Red Label line, her more exclusive Gold Label line, a menswear collection and fragrances called Boudoir and Libertine. Westwood shops opened in New York, Hong Kong, Milan and several other major cities.\u003c/p>\n\u003cp>She was named designer of the year by the British Fashion Council in 1990 and 1991.\u003c/p>\n\u003cp>Her uneasy relationship with the British establishment is perhaps best exemplified by her 1992 trip to Buckingham Palace to receive an Order of the British Empire medal from Queen Elizabeth II: She wore no underwear, and posed for photographers in a way that made that abundantly clear.\u003c/p>\n\u003cp>Apparently the queen was not offended: Westwood was invited back to receive the even more auspicious designation of Dame Commander of the British Empire — the female equivalent of a knighthood — in 2006.\u003c/p>\n\u003cp>Westwood is survived by her second husband, Austrian-born Andreas Kronthaler, and her two sons.\u003c/p>\n\u003cp>The first, fashion photographer Ben Westwood, was her son with Derek Westwood. The second, Joe Corré — her son with McLaren — co-founded the upscale Agent Provocateur lingerie line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Katz, a longtime correspondent for The Associated Press who died in 2020, was the principal writer of this obituary.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At SOMArts, 'The Indigo Project' Weaves the Threads of Black History",
"headTitle": "At SOMArts, ‘The Indigo Project’ Weaves the Threads of Black History | KQED",
"content": "\u003cp>The leaves from indigo trees have been used to dye fabric for ages. Through this one plant, one can tell the story of royalty, enslavement and the African diaspora.\u003c/p>\n\u003cp>The use of indigo dye reportedly originated in India. But for centuries it’s been used amongst nobles in West Africa, where fabrics were made so appealing they were once \u003ca href=\"https://www.npr.org/2011/11/07/142094103/indigo-the-indelible-color-that-ruled-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">used as currency\u003c/a>. When enslaved Africans were brought to the United States, their ability to harvest and use indigo was at one point more lucrative than cotton.\u003c/p>\n\u003cp>Now, in an exhibition at SOMArts titled \u003cem>\u003ca href=\"https://somarts.org/event/theindigoproject/\">The Indigo Project\u003c/a>\u003c/em>, a duo of Bay Area-based curators explore the common thread between African descendants in the United States, deep blue dye, and the fabrics we use for art and fashion.\u003c/p>\n\u003cp>Reflecting this history through an art exhibit is an idea that initially came to \u003ca href=\"https://linktr.ee/Bushmama\" target=\"_blank\" rel=\"noopener noreferrer\">Bushmama Africa\u003c/a>, an artist and community priest, as she sat in New Orleans’ Congress Square on Halloween in 2017. While she can trace her family’s lineage back to the area, she says, she was looking for something deeper than DNA. She was on a spiritual mission.\u003c/p>\n\u003cp>“I needed to figure out what was the thread between indigo, denim and cotton, as it relates to us as Africans and African Americans,” says Bushmama.\u003c/p>\n\u003cfigure id=\"attachment_13922568\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13922568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/closeline-1020x1194.jpg\" alt='\"Clothesline\" by Abayomi Anli' width=\"480\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-1020x1194.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-800x936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-768x899.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline.jpg 1080w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘Clothesline,’ by Abayomi Anli. \u003ccite>(Abayomi Anli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began reading and researching, as well as reaching out to people like \u003ca href=\"https://linktr.ee/sagebae333\" target=\"_blank\" rel=\"noopener noreferrer\">Isha Rosemond\u003c/a>. A post-disciplinary artist and founder of the\u003ca href=\"https://blackfreedomfellowship.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Freedom Fellowship\u003c/a>, Rosemond is no stranger to the overlap of art and the African diaspora — whether raising funds for artists in Haiti through the \u003ca href=\"https://blackfreedomfellowship.com/black-freedom-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freedom Fund\u003c/a>, or being an an artist in residence in the Brazilian organization \u003ca href=\"https://mirantexiquexique.org/isha-rosemond/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirante Xique Xique\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea clicked (Bushmama calls Rosemond a “spiritual goddaughter”), and a collaboration for \u003cem>The Indigo Project\u003c/em> was born.\u003c/p>\n\u003cp>When asked what attendees should expect, Bushmama says, “They’re going to see a lot of blue.” Laughing and continuing, she adds, “Not so much so that they’re over-inundated. The walls are mostly white. But we threw blue in there where it needed to be.”\u003c/p>\n\u003cfigure id=\"attachment_13922595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg\" alt=\"Two separate headshots in diptych, both showing Black women stylishly dressed and adorned in indigo \" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bushmama Africa and Isha Rosemond of ‘The Indigo Project.’ \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By using visual art, audio recordings and artistic lighting, Bushmama and Rosemond aim to lead people on a spiritual journey. Bushmama predicts that eventgoers will “see their grandparents in the faces of some of these people. They’re going to feel some tingles and some moans.”\u003c/p>\n\u003cp>“The opening is an \u003cem>opening\u003c/em> in the most literal sense,” says Rosemond, noting that it’s the end of the year, and with an end comes the beginning of something new.\u003c/p>\n\u003cp>It also nods to a holiday celebration unlike any other: “It’s the one where they gave the people in the field a day of rest, where they could eat and make merriment with each other,” says Bushmama. “This is how they stayed fortified and strong throughout all the oppression they endured.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Indigo Project,’ with works from Abayomi Anli, Nikesha Breeze, Ashara Ekundayo, Stephen Hamilton, Courtney Desiree Morris, Rachel Parrish, Bryan Keith Thomas, Bushmama Africa and Isha Rosemond, runs Dec. 9–Feb. 5 at SOMArts in San Francisco. A \u003ca href=\"https://www.eventbrite.com/e/the-indigo-project-opening-reception-tickets-468758648737\">free opening reception\u003c/a> is on Friday, Dec. 9, from 6 p.m.–9 p.m. \u003ca href=\"https://somarts.org/event/theindigoproject/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The leaves from indigo trees have been used to dye fabric for ages. Through this one plant, one can tell the story of royalty, enslavement and the African diaspora.\u003c/p>\n\u003cp>The use of indigo dye reportedly originated in India. But for centuries it’s been used amongst nobles in West Africa, where fabrics were made so appealing they were once \u003ca href=\"https://www.npr.org/2011/11/07/142094103/indigo-the-indelible-color-that-ruled-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">used as currency\u003c/a>. When enslaved Africans were brought to the United States, their ability to harvest and use indigo was at one point more lucrative than cotton.\u003c/p>\n\u003cp>Now, in an exhibition at SOMArts titled \u003cem>\u003ca href=\"https://somarts.org/event/theindigoproject/\">The Indigo Project\u003c/a>\u003c/em>, a duo of Bay Area-based curators explore the common thread between African descendants in the United States, deep blue dye, and the fabrics we use for art and fashion.\u003c/p>\n\u003cp>Reflecting this history through an art exhibit is an idea that initially came to \u003ca href=\"https://linktr.ee/Bushmama\" target=\"_blank\" rel=\"noopener noreferrer\">Bushmama Africa\u003c/a>, an artist and community priest, as she sat in New Orleans’ Congress Square on Halloween in 2017. While she can trace her family’s lineage back to the area, she says, she was looking for something deeper than DNA. She was on a spiritual mission.\u003c/p>\n\u003cp>“I needed to figure out what was the thread between indigo, denim and cotton, as it relates to us as Africans and African Americans,” says Bushmama.\u003c/p>\n\u003cfigure id=\"attachment_13922568\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13922568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/closeline-1020x1194.jpg\" alt='\"Clothesline\" by Abayomi Anli' width=\"480\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-1020x1194.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-800x936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline-768x899.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/closeline.jpg 1080w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">‘Clothesline,’ by Abayomi Anli. \u003ccite>(Abayomi Anli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She began reading and researching, as well as reaching out to people like \u003ca href=\"https://linktr.ee/sagebae333\" target=\"_blank\" rel=\"noopener noreferrer\">Isha Rosemond\u003c/a>. A post-disciplinary artist and founder of the\u003ca href=\"https://blackfreedomfellowship.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Freedom Fellowship\u003c/a>, Rosemond is no stranger to the overlap of art and the African diaspora — whether raising funds for artists in Haiti through the \u003ca href=\"https://blackfreedomfellowship.com/black-freedom-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freedom Fund\u003c/a>, or being an an artist in residence in the Brazilian organization \u003ca href=\"https://mirantexiquexique.org/isha-rosemond/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirante Xique Xique\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea clicked (Bushmama calls Rosemond a “spiritual goddaughter”), and a collaboration for \u003cem>The Indigo Project\u003c/em> was born.\u003c/p>\n\u003cp>When asked what attendees should expect, Bushmama says, “They’re going to see a lot of blue.” Laughing and continuing, she adds, “Not so much so that they’re over-inundated. The walls are mostly white. But we threw blue in there where it needed to be.”\u003c/p>\n\u003cfigure id=\"attachment_13922595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg\" alt=\"Two separate headshots in diptych, both showing Black women stylishly dressed and adorned in indigo \" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IndigoProject.bio_.headshots.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Bushmama Africa and Isha Rosemond of ‘The Indigo Project.’ \u003ccite>(Courtesy Photos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By using visual art, audio recordings and artistic lighting, Bushmama and Rosemond aim to lead people on a spiritual journey. Bushmama predicts that eventgoers will “see their grandparents in the faces of some of these people. They’re going to feel some tingles and some moans.”\u003c/p>\n\u003cp>“The opening is an \u003cem>opening\u003c/em> in the most literal sense,” says Rosemond, noting that it’s the end of the year, and with an end comes the beginning of something new.\u003c/p>\n\u003cp>It also nods to a holiday celebration unlike any other: “It’s the one where they gave the people in the field a day of rest, where they could eat and make merriment with each other,” says Bushmama. “This is how they stayed fortified and strong throughout all the oppression they endured.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Indigo Project,’ with works from Abayomi Anli, Nikesha Breeze, Ashara Ekundayo, Stephen Hamilton, Courtney Desiree Morris, Rachel Parrish, Bryan Keith Thomas, Bushmama Africa and Isha Rosemond, runs Dec. 9–Feb. 5 at SOMArts in San Francisco. A \u003ca href=\"https://www.eventbrite.com/e/the-indigo-project-opening-reception-tickets-468758648737\">free opening reception\u003c/a> is on Friday, Dec. 9, from 6 p.m.–9 p.m. \u003ca href=\"https://somarts.org/event/theindigoproject/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An empty classroom can feel like a jarring setting to return to. No one wants to relive the anxiety of not knowing any classmates or showing up unprepared for a big test. But Tommy Bogo made the high school experience something to celebrate at New York Fashion Week last month. With his spring/summer 2023 collection, “For the Truant & the Fluent,” the Oakland-raised fashion and industrial designer returned to the beginnings of \u003ca href=\"https://www.tombogo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TOMBOGO\u003c/a>.\u003c/p>\n\u003cp>“It kind of felt like a senior year moment,” Bogo says. “That, to me, was really special. It made me think about where I started and where I’m at now.”\u003c/p>\n\u003cp>The show opened with playful pieces that elevated traditional casualwear, like the bungee-cord skirt modeled by singer Teezo Touchdown. Vallejo producer Hokage Simon walked down the runway — a clearing between rows of desks — with a windmill-shaped leather backpack. Finally, the collection tied back to a piece of clothing integral to adolescence for Bay Area millennials: the oversized Girbaud jeans of the hyphy era, which Bogo reimagined as Girbogos worn by rapper Guap, a.k.a. Guapdad 4000.\u003c/p>\n\u003cp>https://youtu.be/4ITDAEU6d6A\u003c/p>\n\u003cp>TOMBOGO was officially founded in 2020, but Bogo got his start selling screen-printed T-shirts out of his locker at Oakland Technical High School. Today, his products can be seen on global superstars like J Balvin, who lent his name to TOMBOGO’s \u003ca href=\"https://shop.jbalvinmerch.com/products/tombogo-x-j-balvin-led-scouter-glasses-black-lava\" target=\"_blank\" rel=\"noopener noreferrer\">safety-goggle shades with LED flashlights\u003c/a>. Bogo’s futuristic, workwear-inspired pieces often teeter on the edge of practical and illogically elaborate, and signal a confident, comfy cool. Big brands like Saucony and Dr. Martens have tapped him to put new spins on their classic designs. And although Bogo isn’t a household name quite yet, the 28-year-old has become a trendsetter with a growing global impact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In high school, I had never imagined I’d be doing a New York Fashion week or going to Paris to debut a sneaker,” Bogo says of his success. “When we did our Paris debut of the Saucony shoe, I actually had a second to take a step back and was like, ‘Woah, I never thought I’d be here because of this.’”\u003c/p>\n\u003cp>While creating his latest collection, Bogo found an opportunity to reflect on his beginnings. At Oakland tech, he took his studies seriously but sometimes skipped classes. He was a skateboarder and played saxophone in the jazz band, and he immersed himself in Oakland’s do-it-yourself creative culture. [aside postid='arts_13920746']\u003c/p>\n\u003cp>“I heard \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> saying he started Dope Era selling shirts out the trunk,” Bogo says of his early inspirations.\u003c/p>\n\u003cp>That outside-the-box mentality extends to the way Bogo approaches his designs, which he strives to make functional and eco-friendly. “If you can make things more utilitarian and multifunctional, then that’s one step closer to these products helping you solve problems on the everyday basis, or at least making your life easier,” Bogo explains.\u003c/p>\n\u003cfigure id=\"attachment_13920983\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screenshot-25.png\" alt=\"\" width=\"615\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25-160x195.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Guap models TOMBOGO’s Saucony shoe. \u003ccite>(Courtesy of TOMBOGO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it was adding pockets to Dr. Martens boots or incorporating recycled materials into his designs, Bogo is conscious of how his industry creates waste and wants to curb it as much as possible.\u003c/p>\n\u003cp>“Being able to purchase a garment that can serve different purposes can hopefully eliminate certain overconsumption,” Bogo says. “My hope is that it really allows people to hold onto these pieces instead of going the fast fashion route and cycling through a bunch of different garments all the time.”\u003c/p>\n\u003cp>As Bogo’s ambitions for his brand grew, he realized he needed to leave home — a harsh reality for many Bay Area creatives. He moved to New York right before the turn of the decade, and took everything he learned at home with him. Today he is based in Los Angeles, and he still continues working with Bay Area artists who came up alongside him. “I think there is something behind Bay Area creative culture that if you have made it out the Bay, there’s some sort of unspoken pact … to really stick together in terms of collaborating,” Bogo says.\u003c/p>\n\u003cp>One of those collaborators is singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a>, who modeled and created the soundtrack for the “For the Truant & the Fluent” runway show. He’s known Bogo since their days at Oakland Tech, and both have grown into prolific artists who turn to each other for mutual support.\u003c/p>\n\u003cp>https://www.instagram.com/p/CiamyzZABWV/\u003c/p>\n\u003cp>“He’s blossomed in the way he’s blossomed, and I was supporting what Tommy was doing, and he was supporting what I was doing,” Elujay says.\u003c/p>\n\u003cp>As his career progresses, Bogo continues to bring the Bay with him no matter where he goes, whether he’s collaborating with local artists or incorporating his hometown influences in his designs. TOMBOGO shows that it’s possible to come out of Oakland and create something monumental.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it is important to leave home for a little and get the perspectives and community network, whatever opportunities there may be,” he says, “and then bring that home eventually.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An empty classroom can feel like a jarring setting to return to. No one wants to relive the anxiety of not knowing any classmates or showing up unprepared for a big test. But Tommy Bogo made the high school experience something to celebrate at New York Fashion Week last month. With his spring/summer 2023 collection, “For the Truant & the Fluent,” the Oakland-raised fashion and industrial designer returned to the beginnings of \u003ca href=\"https://www.tombogo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TOMBOGO\u003c/a>.\u003c/p>\n\u003cp>“It kind of felt like a senior year moment,” Bogo says. “That, to me, was really special. It made me think about where I started and where I’m at now.”\u003c/p>\n\u003cp>The show opened with playful pieces that elevated traditional casualwear, like the bungee-cord skirt modeled by singer Teezo Touchdown. Vallejo producer Hokage Simon walked down the runway — a clearing between rows of desks — with a windmill-shaped leather backpack. Finally, the collection tied back to a piece of clothing integral to adolescence for Bay Area millennials: the oversized Girbaud jeans of the hyphy era, which Bogo reimagined as Girbogos worn by rapper Guap, a.k.a. Guapdad 4000.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4ITDAEU6d6A'\n title='//www.youtube.com/embed/4ITDAEU6d6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>TOMBOGO was officially founded in 2020, but Bogo got his start selling screen-printed T-shirts out of his locker at Oakland Technical High School. Today, his products can be seen on global superstars like J Balvin, who lent his name to TOMBOGO’s \u003ca href=\"https://shop.jbalvinmerch.com/products/tombogo-x-j-balvin-led-scouter-glasses-black-lava\" target=\"_blank\" rel=\"noopener noreferrer\">safety-goggle shades with LED flashlights\u003c/a>. Bogo’s futuristic, workwear-inspired pieces often teeter on the edge of practical and illogically elaborate, and signal a confident, comfy cool. Big brands like Saucony and Dr. Martens have tapped him to put new spins on their classic designs. And although Bogo isn’t a household name quite yet, the 28-year-old has become a trendsetter with a growing global impact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In high school, I had never imagined I’d be doing a New York Fashion week or going to Paris to debut a sneaker,” Bogo says of his success. “When we did our Paris debut of the Saucony shoe, I actually had a second to take a step back and was like, ‘Woah, I never thought I’d be here because of this.’”\u003c/p>\n\u003cp>While creating his latest collection, Bogo found an opportunity to reflect on his beginnings. At Oakland tech, he took his studies seriously but sometimes skipped classes. He was a skateboarder and played saxophone in the jazz band, and he immersed himself in Oakland’s do-it-yourself creative culture. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I heard \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> saying he started Dope Era selling shirts out the trunk,” Bogo says of his early inspirations.\u003c/p>\n\u003cp>That outside-the-box mentality extends to the way Bogo approaches his designs, which he strives to make functional and eco-friendly. “If you can make things more utilitarian and multifunctional, then that’s one step closer to these products helping you solve problems on the everyday basis, or at least making your life easier,” Bogo explains.\u003c/p>\n\u003cfigure id=\"attachment_13920983\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screenshot-25.png\" alt=\"\" width=\"615\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25-160x195.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Guap models TOMBOGO’s Saucony shoe. \u003ccite>(Courtesy of TOMBOGO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it was adding pockets to Dr. Martens boots or incorporating recycled materials into his designs, Bogo is conscious of how his industry creates waste and wants to curb it as much as possible.\u003c/p>\n\u003cp>“Being able to purchase a garment that can serve different purposes can hopefully eliminate certain overconsumption,” Bogo says. “My hope is that it really allows people to hold onto these pieces instead of going the fast fashion route and cycling through a bunch of different garments all the time.”\u003c/p>\n\u003cp>As Bogo’s ambitions for his brand grew, he realized he needed to leave home — a harsh reality for many Bay Area creatives. He moved to New York right before the turn of the decade, and took everything he learned at home with him. Today he is based in Los Angeles, and he still continues working with Bay Area artists who came up alongside him. “I think there is something behind Bay Area creative culture that if you have made it out the Bay, there’s some sort of unspoken pact … to really stick together in terms of collaborating,” Bogo says.\u003c/p>\n\u003cp>One of those collaborators is singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a>, who modeled and created the soundtrack for the “For the Truant & the Fluent” runway show. He’s known Bogo since their days at Oakland Tech, and both have grown into prolific artists who turn to each other for mutual support.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“He’s blossomed in the way he’s blossomed, and I was supporting what Tommy was doing, and he was supporting what I was doing,” Elujay says.\u003c/p>\n\u003cp>As his career progresses, Bogo continues to bring the Bay with him no matter where he goes, whether he’s collaborating with local artists or incorporating his hometown influences in his designs. TOMBOGO shows that it’s possible to come out of Oakland and create something monumental.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it is important to leave home for a little and get the perspectives and community network, whatever opportunities there may be,” he says, “and then bring that home eventually.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West",
"headTitle": "Guo Pei’s Fashion at the Legion of Honor Dazzles in a Merger of East and West | KQED",
"content": "\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Despite Ridicule, the Patagonia Vest Endures in San Francisco Tech",
"headTitle": "Despite Ridicule, the Patagonia Vest Endures in San Francisco Tech | KQED",
"content": "\u003cfigure id=\"attachment_13911476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg\" alt='Two men on the sidewalk wearing \"tech vasts\" in the financial district of San Francisco' width=\"800\" height=\"600\" class=\"size-medium wp-image-13911476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faris Ajluni (right) and Jose Nazario pose in their vests in downtown San Francisco. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long associated with Wall Street and Silicon Valley, the Patagonia vest has endured as a tribal symbol of finance and tech. But those who’ve dared in recent weeks to put on their vests in San Francisco have \u003ca href=\"https://www.sfgate.com/local/article/Anti-tech-bro-flyers-posted-in-San-Francisco-17012521.php\">been the target\u003c/a> of a resistance of sorts.\u003c/p>\n\u003cp>“Urgent: Stop wearing vests,” implore flyers plastered around the city. “You live in San Francisco now. It’s time to start acting like it.”\u003c/p>\n\u003cp>It’s the latest show of frustration from city residents against the tech workers that many blame for making the city one of the nation’s most expensive. NPR tried but was unable to track down the creator of the flyers.\u003c/p>\n\u003cp>Not everyone who sports a Patagonia vest is a “tech bro,” says proud Patagonia vest-wearer Sam Runkle.\u003c/p>\n\u003cp>“The kind of people who wear Patagonia are maybe raising rents and maybe are the kind of people that these other groups are trying to push back on,” he said on a recent afternoon as he played fetch with his golden retriever, with a lacrosse stick and ball, in a grassy field overlooking the San Francisco Bay. “But there’s another cohort of people who do wear Patagonia who are not at all part of that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, Runkle, who works in sales at the software startup Paylode, said of his digs in the city’s trendy Marina neighborhood: “I live in a four-bedroom that’s really a two-bedroom with a plywood wall, so I don’t think I’m raising any rents.”\u003c/p>\n\u003cp>And, he notes, a Patagonia vest is practical in San Francisco: the perfect wind shield for a city on the tip of a peninsula.\u003c/p>\n\u003cp>“It’s comfy,” Runkle says. “It gets the job done.”\u003c/p>\n\u003cp>Indeed, plenty of women and non-tech workers adore the vests in the Bay Area for the same reason, but Runkle admits it’s most often sported by bros. In particular, bros who know something about venture capital or software engineering.\u003c/p>\n\u003cp>“It’s true,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13911477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg\" alt=\"A guy in a blue vest, shorts, hat, playing on the Marina green with his dog\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13911477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Runkle sports a blue Patagonia vest while out with his golden retriever in San Francisco’s Marina neighborhood. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The vest “hits the right sweet spot between East Coast money and West Coast casual”\u003c/h2>\n\u003cp>The tension fueled by the vests comes as no surprise to historian Margaret O’Mara at the University of Washington, author of the book \u003cem>The Code: Silicon Valley and the Remaking of America\u003c/em>.\u003c/p>\n\u003cp>She said the rise of the fleece vest in tech circles coincided with the throng of new investors piling into flashy startups in the early 2000s.\u003c/p>\n\u003cp>“In a way, it has its roots in the marriage of Silicon Valley and Wall Street that started with the dot-com boom,” she said.\u003c/p>\n\u003cp>As the finance and tech industries became closer over the years, venture capitalists ditched preppy sweater vests for Wall Street’s favorite garment: the Patagonia vest.\u003c/p>\n\u003cp>“You can wear your pressed khakis and your collared shirt, and you put on a fleece vest and it just hits the right sweet spot between East Coast money and West Coast casual,” O’Mara said.\u003c/p>\n\u003ch2>‘VC Starter Packs’ offer Patagonia vests, a Twitter feed audit and a Peter Thiel book\u003c/h2>\n\u003cp>It became a status symbol to waltz around the Bay Area rocking a vest with the name of a venture capital firm you recently closed a deal with, or one with the embroidered logo of your new job at a Big Tech company. Elite tech conferences used to hand them out as swag. The vests carried cachet.\u003c/p>\n\u003cp>Sumukh Sridhara remembers walking to his tech job one day shortly after moving to San Francisco and seeing person after person wearing the same exact vest.\u003c/p>\n\u003cp>“It just seemed like something that didn’t necessarily fit in San Francisco,” he said. “In a place that’s usually known for its diversity of types of people and types of things that people work on, everybody just ends up wearing the same outfit in this one industry.”\u003c/p>\n\u003cp>So, in jest, he \u003ca href=\"https://www.businessinsider.com/vc-starter-kit-patagonia-2019-3\">began selling\u003c/a> a “VC Starter Pack.” It \u003ca href=\"https://i.insider.com/5c93f98edc676702a57e19d3?width=700&format=jpeg&auto=webp\">included\u003c/a> a gray Patagonia fleece vest, the book \u003cem>Zero to One\u003c/em> by entrepreneur Peter Thiel and a personalized Twitter feed audit, among other things.\u003c/p>\n\u003cp>He did find some takers at $699 a pop, and he donated the proceeds to charity. Then, as part of the joke, he redirected the website he created for the VC Starter Pack to job listings at the prominent venture capital firm Andreessen Horowitz.\u003c/p>\n\u003cp>“It seems like nowadays the way to work in VC is to just work there,” he said.\u003c/p>\n\u003cp>Of late, Sridhara said, he has seen fewer vests with the names of companies and tech conferences around town. That’s in part because of Patagonia. \u003ca href=\"https://www.patagonia.com/transitioning-away-from-logos.html\">Last year, it announced\u003c/a> it would stop selling vests with corporate logos. (Patagonia declined to comment for this story and Andreessen Horowitz did not respond to multiple emails.)\u003c/p>\n\u003cp>Still, walk around the windy streets of San Francisco and you’ll still find plenty of people wearing the vest.\u003c/p>\n\u003cp>On a recent afternoon in the city’s financial district, a group of colleagues at a fintech firm strolled out of their office building, some in their vests. Among them: Faris Ajluni, who says he started just two weeks ago.\u003c/p>\n\u003cp>“In preparation, because I knew I wasn’t wearing a suit, I bought three vests,” he said. “I made sure not to get a Patagonia one. I didn’t want to get stereotyped, so I got non-labeled vests for that reason.”\u003c/p>\n\u003cp>He acknowledges that, yes, he might look like a tech or finance bro, but so what?\u003c/p>\n\u003cp>“It’s part of the uniform. And it fits. I like the way vests look on me. They make your shoulders look big. I’m a guy, so big shoulders help,” he said.\u003c/p>\n\u003cp>The fleece vest does not add flair to one’s look in every city.\u003c/p>\n\u003cp>Sridhara, who made the VC Starter Pack website, recently launched a new kit \u003ca href=\"https://miami.vcstarterkit.com/\">for techies moving to Miami\u003c/a>. Among the items: an appointment with a fashion consultant, so tech workers don’t look ridiculous wearing their fleece vests while holding their piña coladas along South Beach.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You can’t tan in a fleece jacket, ” the site instructs. “A local stylist will acquire palm prints, Versace jungle prints, and guayaberas for you.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Patagonia+vest+endures+in+San+Francisco+tech+circles%2C+despite+ridicule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg\" alt='Two men on the sidewalk wearing \"tech vasts\" in the financial district of San Francisco' width=\"800\" height=\"600\" class=\"size-medium wp-image-13911476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faris Ajluni (right) and Jose Nazario pose in their vests in downtown San Francisco. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long associated with Wall Street and Silicon Valley, the Patagonia vest has endured as a tribal symbol of finance and tech. But those who’ve dared in recent weeks to put on their vests in San Francisco have \u003ca href=\"https://www.sfgate.com/local/article/Anti-tech-bro-flyers-posted-in-San-Francisco-17012521.php\">been the target\u003c/a> of a resistance of sorts.\u003c/p>\n\u003cp>“Urgent: Stop wearing vests,” implore flyers plastered around the city. “You live in San Francisco now. It’s time to start acting like it.”\u003c/p>\n\u003cp>It’s the latest show of frustration from city residents against the tech workers that many blame for making the city one of the nation’s most expensive. NPR tried but was unable to track down the creator of the flyers.\u003c/p>\n\u003cp>Not everyone who sports a Patagonia vest is a “tech bro,” says proud Patagonia vest-wearer Sam Runkle.\u003c/p>\n\u003cp>“The kind of people who wear Patagonia are maybe raising rents and maybe are the kind of people that these other groups are trying to push back on,” he said on a recent afternoon as he played fetch with his golden retriever, with a lacrosse stick and ball, in a grassy field overlooking the San Francisco Bay. “But there’s another cohort of people who do wear Patagonia who are not at all part of that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For instance, Runkle, who works in sales at the software startup Paylode, said of his digs in the city’s trendy Marina neighborhood: “I live in a four-bedroom that’s really a two-bedroom with a plywood wall, so I don’t think I’m raising any rents.”\u003c/p>\n\u003cp>And, he notes, a Patagonia vest is practical in San Francisco: the perfect wind shield for a city on the tip of a peninsula.\u003c/p>\n\u003cp>“It’s comfy,” Runkle says. “It gets the job done.”\u003c/p>\n\u003cp>Indeed, plenty of women and non-tech workers adore the vests in the Bay Area for the same reason, but Runkle admits it’s most often sported by bros. In particular, bros who know something about venture capital or software engineering.\u003c/p>\n\u003cp>“It’s true,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13911477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg\" alt=\"A guy in a blue vest, shorts, hat, playing on the Marina green with his dog\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13911477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Runkle sports a blue Patagonia vest while out with his golden retriever in San Francisco’s Marina neighborhood. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The vest “hits the right sweet spot between East Coast money and West Coast casual”\u003c/h2>\n\u003cp>The tension fueled by the vests comes as no surprise to historian Margaret O’Mara at the University of Washington, author of the book \u003cem>The Code: Silicon Valley and the Remaking of America\u003c/em>.\u003c/p>\n\u003cp>She said the rise of the fleece vest in tech circles coincided with the throng of new investors piling into flashy startups in the early 2000s.\u003c/p>\n\u003cp>“In a way, it has its roots in the marriage of Silicon Valley and Wall Street that started with the dot-com boom,” she said.\u003c/p>\n\u003cp>As the finance and tech industries became closer over the years, venture capitalists ditched preppy sweater vests for Wall Street’s favorite garment: the Patagonia vest.\u003c/p>\n\u003cp>“You can wear your pressed khakis and your collared shirt, and you put on a fleece vest and it just hits the right sweet spot between East Coast money and West Coast casual,” O’Mara said.\u003c/p>\n\u003ch2>‘VC Starter Packs’ offer Patagonia vests, a Twitter feed audit and a Peter Thiel book\u003c/h2>\n\u003cp>It became a status symbol to waltz around the Bay Area rocking a vest with the name of a venture capital firm you recently closed a deal with, or one with the embroidered logo of your new job at a Big Tech company. Elite tech conferences used to hand them out as swag. The vests carried cachet.\u003c/p>\n\u003cp>Sumukh Sridhara remembers walking to his tech job one day shortly after moving to San Francisco and seeing person after person wearing the same exact vest.\u003c/p>\n\u003cp>“It just seemed like something that didn’t necessarily fit in San Francisco,” he said. “In a place that’s usually known for its diversity of types of people and types of things that people work on, everybody just ends up wearing the same outfit in this one industry.”\u003c/p>\n\u003cp>So, in jest, he \u003ca href=\"https://www.businessinsider.com/vc-starter-kit-patagonia-2019-3\">began selling\u003c/a> a “VC Starter Pack.” It \u003ca href=\"https://i.insider.com/5c93f98edc676702a57e19d3?width=700&format=jpeg&auto=webp\">included\u003c/a> a gray Patagonia fleece vest, the book \u003cem>Zero to One\u003c/em> by entrepreneur Peter Thiel and a personalized Twitter feed audit, among other things.\u003c/p>\n\u003cp>He did find some takers at $699 a pop, and he donated the proceeds to charity. Then, as part of the joke, he redirected the website he created for the VC Starter Pack to job listings at the prominent venture capital firm Andreessen Horowitz.\u003c/p>\n\u003cp>“It seems like nowadays the way to work in VC is to just work there,” he said.\u003c/p>\n\u003cp>Of late, Sridhara said, he has seen fewer vests with the names of companies and tech conferences around town. That’s in part because of Patagonia. \u003ca href=\"https://www.patagonia.com/transitioning-away-from-logos.html\">Last year, it announced\u003c/a> it would stop selling vests with corporate logos. (Patagonia declined to comment for this story and Andreessen Horowitz did not respond to multiple emails.)\u003c/p>\n\u003cp>Still, walk around the windy streets of San Francisco and you’ll still find plenty of people wearing the vest.\u003c/p>\n\u003cp>On a recent afternoon in the city’s financial district, a group of colleagues at a fintech firm strolled out of their office building, some in their vests. Among them: Faris Ajluni, who says he started just two weeks ago.\u003c/p>\n\u003cp>“In preparation, because I knew I wasn’t wearing a suit, I bought three vests,” he said. “I made sure not to get a Patagonia one. I didn’t want to get stereotyped, so I got non-labeled vests for that reason.”\u003c/p>\n\u003cp>He acknowledges that, yes, he might look like a tech or finance bro, but so what?\u003c/p>\n\u003cp>“It’s part of the uniform. And it fits. I like the way vests look on me. They make your shoulders look big. I’m a guy, so big shoulders help,” he said.\u003c/p>\n\u003cp>The fleece vest does not add flair to one’s look in every city.\u003c/p>\n\u003cp>Sridhara, who made the VC Starter Pack website, recently launched a new kit \u003ca href=\"https://miami.vcstarterkit.com/\">for techies moving to Miami\u003c/a>. Among the items: an appointment with a fashion consultant, so tech workers don’t look ridiculous wearing their fleece vests while holding their piña coladas along South Beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You can’t tan in a fleece jacket, ” the site instructs. “A local stylist will acquire palm prints, Versace jungle prints, and guayaberas for you.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Patagonia+vest+endures+in+San+Francisco+tech+circles%2C+despite+ridicule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Influential Fashion Journalist André Leon Talley Dies at 73",
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"content": "\u003cp>André Leon Talley, the towering former creative director and editor at large of \u003cem>Vogue\u003c/em> magazine, has died. He was 73.\u003c/p>\n\u003cp>Talley’s literary agent David Vigliano confirmed Talley’s death to \u003cem>USA Today\u003c/em> late Tuesday, but no additional details were immediately available.\u003c/p>\n\u003cp>https://twitter.com/CoutureIsBeyond/status/1483638128099434501\u003c/p>\n\u003cp>Talley was an influential fashion journalist who worked at \u003cem>Women’s Wear Daily\u003c/em> and\u003cem> Vogue\u003c/em> and was a regular in the front row of fashion shows in New York and Europe. At 6-feet-6 inches tall, Talley cut an imposing figure wherever he went, with his stature, his considerable influence on the fashion world, and his bold looks.\u003c/p>\n\u003cp>In a 2013 \u003cem>Vanity Fair\u003c/em> spread titled “The Eyeful Tower,” Talley was described as “perhaps the industry’s most important link to the past.” Designer Tom Ford told the magazine Talley was “one of the last great fashion editors who has an incredible sense of fashion history. … He can see through everything you do to the original reference, predict what was on your inspiration board.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Designer Diane von Furstenberg praised Talley on Instagram, writing: “no one saw the world in a more glamorous way than you did … no one was grander and more soulful than you were.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CY5U2yINHxm/\u003c/p>\n\u003cp>In his 2003 memoir, \u003cem>A.L.T.: A Memoir\u003c/em>, Talley focused on two of the most important women in his life: his maternal grandmother, Bennie Frances Davis and the late fashion editor Diana Vreeland.\u003c/p>\n\u003cp>“Bennie Frances Davis may have looked like a typical, African American domestic worker to many of the people who saw her on an ordinary day, but I, who could see her soul, could also see her secret: that even while she wore a hair net and work clothes to scrub toilets and floors, she wore an invisible diadem,” he wrote.\u003c/p>\n\u003cp>His relationship with \u003cem>Vogue\u003c/em> started at Duke University, where his grandmother cleaned dorms; Talley would walk to campus in his youth to read the magazine.\u003c/p>\n\u003cp>Talley was also a familiar figure to TV audiences, serving as a judge on \u003cem>America’s Top Model\u003c/em> and appearing on\u003ca href=\"https://www.youtube.com/watch?v=EMWuURfGjBQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Sex and the City\u003c/em>\u003c/a> and\u003cem> Empire\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/theprophetpizza/status/1483641481537724417\u003c/p>\n\u003cp>Raised in Durham, N.C., Talley worked assorted jobs before arriving in New York in the 1970s, soon meeting Vreeland striking up a friendship that lasted until her death in 1989.\u003c/p>\n\u003cp>Talley worked as a park ranger in Washington, D.C., and Maryland, where he told visitors about slaves who built Fort Washington and dressed up like a Civil War soldier, he told the \u003cem>Associated Press\u003c/em> in 2003.\u003c/p>\n\u003cp>[aside postid='arts_13833651']After stints with \u003cem>Interview\u003c/em> magazine and \u003cem>Women’s Wear Daily\u003c/em>, Talley was hired at \u003cem>Vogue\u003c/em> in 1983 by Editor in Chief Anna Wintour and was appointed its creative director in 1988.\u003c/p>\n\u003cp>Talley released another memoir in 2020, \u003cem>The Chiffon Trenches\u003c/em>, that included gossipy behind-the-scenes tales about Wintour and other fashion figures like the late designer Karl Lagerfeld.\u003c/p>\n\u003cp>Of all the elements of a person’s apparel, Talley considered shoes to be most important.\u003c/p>\n\u003cp>“You can tell everything about a person by what he puts on his feet,” Talley told the AP.\u003c/p>\n\u003cp>“If it’s a man and you can see the reflection of his face on the top of his black shoes, it means they’ve been polished to perfection. … If it’s a woman and she’s wearing shoes that hurt … well, shoes that hurt are very fashionable!”\u003c/p>\n\u003cp>https://twitter.com/cassandrapintro/status/1483639434692239363\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talley’s death was first reported by celebrity website TMZ.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+fashion+journalist+Andr%C3%A9+Leon+Talley+dies+at+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After stints with \u003cem>Interview\u003c/em> magazine and \u003cem>Women’s Wear Daily\u003c/em>, Talley was hired at \u003cem>Vogue\u003c/em> in 1983 by Editor in Chief Anna Wintour and was appointed its creative director in 1988.\u003c/p>\n\u003cp>Talley released another memoir in 2020, \u003cem>The Chiffon Trenches\u003c/em>, that included gossipy behind-the-scenes tales about Wintour and other fashion figures like the late designer Karl Lagerfeld.\u003c/p>\n\u003cp>Of all the elements of a person’s apparel, Talley considered shoes to be most important.\u003c/p>\n\u003cp>“You can tell everything about a person by what he puts on his feet,” Talley told the AP.\u003c/p>\n\u003cp>“If it’s a man and you can see the reflection of his face on the top of his black shoes, it means they’ve been polished to perfection. … If it’s a woman and she’s wearing shoes that hurt … well, shoes that hurt are very fashionable!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Talley’s death was first reported by celebrity website TMZ.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Influential+fashion+journalist+Andr%C3%A9+Leon+Talley+dies+at+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>[aside postID='arts_13901009']Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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