Lifestyle
The designer who turned her pain into a colorful crochet brand (spotted on Kendrick Lamar)
Krysta Grasso, 27, is the owner of the crochet brand Unlikely Fox.
Surrounded by a sea of colorful yarn, 27-year-old Krysta Grasso lounged on her bed in her West Adams apartment as she crocheted a custom order.
With the yarn in one hand and a crochet hook in the other, she intricately worked in more of the neon pink, highlighter yellow and tortoise blue that she’d hand-dyed in her kitchen. When she was finished, she held up her creation: a fox-ear hat, one of her signature pieces.
Grasso’s crochet brand, Unlikely Fox, is having a shining moment — her designs have been spotted on several musicians, including Grammy award-winning rapper Kendrick Lamar, Malaya (who wore a hat during an NPR Tiny Desk performance) and Amindi.
Still, despite the recent fanfare, Grasso’s days haven’t changed much. This peaceful afternoon looks a lot like the ones she used to spend with her mother, Dunia, who taught her how to crochet when she was about 5. Together, they’d sit on the couch, watching cartoons and romantic comedies for hours as they crocheted everything from scarves to granny squares, which they sometimes turned into blankets.
Grasso enjoyed crocheting simply because “my mom did it,” she said of Dunia, whose signature is tattooed in red on her left forearm. “I just always wanted to be like her. Most of the things she did, I just wanted to do naturally.”
For many years, crocheting was just a hobby for Grasso, who goes by the nickname Fox. She comes from three generations of seamstresses in her Caribbean family — her grandmother owned a sewing boutique in the Chicago area, where Grasso grew up. As a teen, she would sell DIY clothes on Etsy. But it wasn’t until her mother suddenly died in June 2018 from cardiac arrest, just days after having a stroke, that Grasso started crocheting with a new vigor.
At first, it was her way of grieving, an attempt to find bits of joy within each day. And then it became something even more.
A photograph of Krysta Grasso and her late mother, Dunia, is displayed in Grasso’s bedroom and crochet studio.
Krysta Grasso, who is owner of Unlikely Fox, likes to keep the strings loose on her crochet products to showcase the amount of colors and textures she uses.
“After she passed, I realized how deeply connected my crocheting was to her,” Grasso said of her mom, who raised three kids on her own. “I was really motivated to start doing it for a living.”
As she crocheted, Grasso would listen to the Spotify playlists her mom made, which were filled with reggaeton, R&B and soul tracks, and watch their favorite Christmas films. Grasso made vibrant colored hats, swimwear and sweaters. She also started designing crochet sleeves and front hoodie pockets, which she added to vintage T-shirts. “When I’m sad, I tend to gravitate to bright colors,” she said.
While Grasso looked for a job in L.A., she began selling her products at the popular Melrose Trading Post. At the time, she was one of a few crochet artists there. She didn’t make much money in the beginning, but she always received the same compliment from patrons. “People would say, ‘I’ve never seen anything like this before,’” she said, adding that they were intrigued by her use of color.
She eventually found a job as a server at a restaurant but was laid off when the pandemic hit. With more free time, she began experimenting with color and hand-dying her own yarn for her crochet work. The hours-long process goes like this: She soaks yarn in citric acid, then places it in a pan on the stove that’s filled with a mix of hot water and dye and lets it sit for a set amount of time to absorb the color. This can take anywhere from 30 minutes to two hours. Afterward, she takes the pan off the heat to let the yarn cool off, then washes it and lets it dry.
“Color is the thing that I love most about the entire craft,” she said, adding that she’s also intrigued by various textures. In one piece, for example, the fox-ear hat, Grasso may use up to 25 combinations of different colors. She likes to keep the strings loose on her pieces — a distinct style choice — to show how many colors and fibers she uses in her products. No two items are ever the same.
Grasso may use up to 25 combinations of colors for her most vibrant crochet projects.
A tattoo of Grasso’s mother’s name, Dunia. Grasso uses a mix of fibers — mohair, merino wool, cotton, silk, recycled fibers and dead stock acrylic. (Zay Monae/For The Times)
Grasso typically uses a mixture of fibers — mohair, merino wool, cotton, silk, recycled fibers and dead stock acrylic — to avoid buying too much acrylic yarn, which often ends up in landfills because it is produced in abundance and isn’t used quickly enough, she said. The higher-priced fibers are the reason her hats sell for $190 and clothing pieces cost $300 to $1,500.
In early 2021, Grasso started selling skeins of her hand-dyed yarn online, which were a hit. When she released a collection called the “Steven Universe” Yarn Club, based on the Cartoon Network animated series, she made nearly $10,000 in two days off the yarn, which was about $25 to $30 per skein.
“I was incredibly surprised. I’d never had a drop that big. Things definitely changed,” she said. She was working at a bookstore at the time, but this made her realize that she could potentially make Unlikely Fox her main source of income.
Soon after, she quit her job and continued doing monthly yarn drops, which were all inspired by animated shows, video games and movies she liked, including “Chowder,” “Animal Crossing,” “Rick and Morty” and “The Princess and the Frog.”
By that fall, Grasso was selling at the Black Market Flea, a monthly flea market that is brimming with clothing brands and handmade goods, all designed and crafted by Black artisans. Before long, her Unlikely Fox products were selling out, and she was able to make half her income from the market and the other half from her monthly yarn drops.
“I think the Black Market Flea was my target audience,” she said. “Those are my peers, and I think it was much easier to communicate what I was doing to people who looked like me, rather than being a small group of people of color and Black people in such a huge white space.”
Krysta Grasso said each item she crochets is personal and feels like “a piece of me.”
There aren’t many times that you’ll see Grasso without a crochet hook and yarn in her hands.
Stephanie Smith first met Grasso when she was crocheting outside a coffee shop in Leimert Park a couple years ago.
“She was so zoned in and just doing it with ease, and I just thought that was so cool,” said Smith, a photographer, returning customer and now close friend of Grasso. “It was refreshing to see a younger woman crocheting.”
Smith owns about 10 of Grasso’s pieces, including a matching set — a wrap skirt and a bustier-style top with removable sleeves — that she customized for her 26th birthday. “I’ve bought other crochet items [from other designers], but her’s are woven way tighter, and her colors really stand out to me.” Each time Smith wears an Unlikely Fox piece, people flag her down to ask where she got it, she said.
Smith said she appreciates Grasso’s pieces even more because of how personal they are to her.
“I won’t ever get rid of these pieces ever because I feel like it’s a part of my friend and it’s also a part of her mother,” she said.
If you follow Grasso on social media, you know who her mother is. Dunia’s face, which is almost identical to Grasso‘s, is plastered across Grasso’s Instagram feed, and Grasso’s bio says simply “Dunia’s daughter.” Grasso has locs similar to those worn by her mom; she got hers shortly after her mom died. She is also candid online about days when her grief strikes even harder, and she shares the activities she does to help boost her mood, like crocheting and running.
Krysta Grasso with a picture of her late mother, Dunia, who taught her how to crochet when she was 5.
For Grasso, talking about her mom and her grieving process is a necessity. “I think I just have to,” she said. “When I don’t, I feel awful.”
Grasso opens up about her experience online not only because it helps her “but I also want to encourage people to grieve more outwardly. I think just the act of speaking about something, whether it’s painful or not, is really powerful.”
At times, it can feel conflicting for Grasso to sell her crochet work because it’s “a piece of me,” she said. For this reason, she recently shifted from doing flea markets regularly to focusing more on making commission-based pieces and selling limited drops online. That way, she doesn’t have to persuade anyone to buy her work, she said.
She isn’t focusing on Unlikely Fox full time anymore because it was getting “intense.” This has given her the freedom to expand her business slowly and intentionally.
A crocheted sweater from Unlikely Fox’s collection.
She didn’t grow up with a lot of money, she said, “so I know that I will be OK with less.”
In the fall, Grasso will be moving to Portland, Ore., to pursue a bachelor’s degree in graphic design, which she’s been passionate about for years. She plans to continue selling her crochet pieces and doing monthly drops on the Unlikely Fox website. Her long-term goal is to become a full-time knitwear designer and further her career in fashion.
When Grasso reflects on the brand she’s built in her mother’s memory, she says Dunia would think “it’s really cool.”
“I visualize the version of us that could’ve got to live longer together, and I think the two of us would’ve become even cooler people together,” Grasso said, as she stood in her bedroom and studio, which is filled with photos of her mom. “I think she’s proud. I think she just wants me to find my own [way] and not be influenced by the things that are around me and the people around me.”
She smiled and added, “I think she just wants me to keep going.”
The scene recalled the frenzy that unfolds backstage during fashion week: On a recent Monday, in a room full of clothing racks, the stylist Micaela Erlanger was working alongside a team of tailors and assistants. But they were not preparing for your average fashion show.
Ms. Erlanger and the group had assembled at her studio in Manhattan to prepare looks for the actress Meryl Streep, Ms. Erlanger’s client of 11 years, to wear during the press tour for “The Devil Wears Prada 2,” the buzzy sequel to a beloved film set at a fictionalized version of a certain glossy fashion magazine.
In the sequel, Ms. Streep steps back into the stilettos of Miranda Priestly, the publication’s glamorous editor in chief. She stars alongside Anne Hathaway and Emily Blunt, who also reprise their roles as Andrea Sachs and Emily Charlton, characters who served as Miranda’s assistants in the original film. Based on a novel and released in 2006, it has become a cult favorite among serious and casual followers of fashion alike.
To prime fans for the sequel, Ms. Streep has appeared on the cover of Vogue and, along with some of her co-stars, has traveled to Mexico, South Korea, China and Japan in recent weeks for premieres. On Monday, cast members appeared in New York, and they will travel to London for more events before “The Devil Wears Prada 2” is widely released on May 1.
Each affair has offered the cast members a chance to turn heads in finery on par with the clothing worn by the characters they play in the movie. Balenciaga, Chanel, Valentino and — yes — Prada are just some of the labels they have sported as they have traveled the globe.
To pull off this fashion feat — and to avoid any style faux pas — Ms. Erlanger, 40, has been in constant communication with Erin Walsh, 43, Ms. Hathaway’s stylist of seven years, and Jessica Paster, 60, who has been styling Ms. Blunt for going on two decades. The women have been operating as something of a hive mind for months, sharing details of the actresses’ looks — the brands, the accessories, the color palettes — in group chats, calls and conversations on the sidelines of runway shows.
“I got to see Erin and Micaela at fashion shows,” Ms. Paster said. “We would whisper: ‘I like that. I like that. I like this. I like that.’”
In a conversation that has been edited and condensed, Ms. Paster, Ms. Erlanger and Ms. Walsh discussed their collaborative relationship, the stakes of styling press tours and the ways they have used fashion to build hype for “The Devil Wears Prada 2.”
How have you each approached dressing your client for the press tour?
MICAELA ERLANGER With Meryl, we leaned into this idea of powerful silhouettes and shapes that you haven’t necessarily seen her in. This is a fashion movie — we’re leaning into it. I would say that there are a lot of references that the fashion community will appreciate and enjoy. We have not just been referencing the first film, but referencing references within the film. I call it “meta dressing.”
JESSICA PASTER You have to remember that Emily Charlton was an assistant 20 years ago. She has evolved. So I’m approaching her as a little stronger — a girl with power. She doesn’t need to borrow clothes anymore. Designers are now giving her the clothes, and she’s out buying clothes.
ERIN WALSH I guess I am hesitant to tell you a theme. I don’t want to encapsulate it. Ultimately, it’s always about how we make a person feel their very best.
You said you communicate via group text. What are you saying to one another?
ERLANGER We have been, from logistics to creative, kind of strategizing among ourselves. What look works best here or there? What’s the other person wearing? Will they look great together?
PASTER I remember one text among us was like: “I’m thinking red. I’m thinking a little burgundy red. And I’m thinking red, too. Is it weird that they’re all wearing red?” I said, “No, let’s lean into that, and let’s do it all in red.”
What we do is make a picture more beautiful. If we have two people who are wearing red, and one is wearing white or purple or black, that is the girl that should be in the middle of a photo. It’s not about, “My girl needs to be in the middle.” If something goes viral, it’s going to help Erin; it’s going to help me; it’s going to help Micaela; and it’s going to help the movie because it gets everyone buzzing and excited.
WALSH With our job, there are always curveballs thrown your way. By working together, we can better navigate any kind of situation in a joyful way without having breakdowns.
Styling has a competitive aspect, in that there are only so many looks, and everyone can’t always get what she wants. How are you navigating that together?
PASTER There are a lot of stories about stylists competing with each other. We’re not. We are so busy. We do not have time. Micaela is calling me because she needs something. I have so many questions to ask Erin and Micaela. If one of these two girls needs me, I will be there for them.
WALSH Removing anything competitive or not collaborative from the equation makes us stronger. It makes our work better.
ERLANGER Collaboration also benefits our clients. Everybody wins when we are aligned.
I’m curious, where were you in your careers when the original “The Devil Wears Prada” premiered?
ERLANGER We have stages of our careers that directly relate back to the first movie. I was an intern at Condé Nast, the company that owns Vogue.
WALSH I was an assistant at Vogue when it came out. I watched Anne onscreen. “The Devil Wears Prada” I knew, you know, in my skin.
PASTER I was a stylist, and, in fact, I was trying to get Emily Blunt as a client.
Modern press tours can involve several premieres in addition to other events. How has that changed how you work?
ERLANGER Social media has made every moment a photo op. Even if it is a junket day when your clients are sitting in a room for on-camera interviews, those pictures get picked up. So every single moment has become press-worthy. And, therefore, there’s more intentionality behind what clients are wearing.
PASTER People forget that we just can’t bring in a dress or two, bust out a look and call it a day. Micaela and Erin are going with nine suitcases all over the world to fit their girls, and I have two trips of fittings in Ireland.
What clothes have you been wearing during the press tour?
WALSH You’ve got to look the part. I tend to, in these situations, reach for more empowering pieces, like a shoulder pad and heels. I don’t work in flats.
ERLANGER I need a flat, and I kind of want to be more comfortable. I’m in jeans and a blazer and a button down and a flat.
PASTER I’m working in sweats and with my hair in a bun.
“Gambrel roofed Barnhaus,” the listing read, “next door to the best burritos in town.”
Its photos revealed something unusual for Inglewood, which is famous for its mix of architectural styles, including Midcentury Modern homes by R.M. Schindler and Googie-style coffee shops: a brick-red barn-style house on a large corner lot, listed at $449,000.
When Meeshie Fahmy and her husband, Aaron Snyder, toured the house, they learned that the burrito claim was true. The photos, however, had clearly been touched up to make the house, located just a few miles from the Kia Forum and SoFi Stadium, look better than it actually was.
Outside, the former dirt lot is now a lush garden with towers of colorful black-eyed susans on arches, planters full of nasturtiums and vegetables, a firepit and pergola.
Inside, the house had “wall-to-wall carpets on both floors that were heavily stained and worn, dated wood paneling on the walls, holes in the walls,” Fahmy says.
Despite these flaws, the couple saw the home’s potential and decided to buy it, even though a leaning retaining wall nearly derailed their escrow. “It was a blank canvas for us to play and experiment,” she recalls a decade later.
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After they moved in, neighbors revealed the house was not original to the site. Years earlier, the original Craftsman had been torn down; the current house, a sweepstakes prize, arrived in two pieces by crane. “Our neighbors recalled it was quite a sight,” Fahmy says.
At the time, Fahmy, 44, worked as an event planner at the Getty Museum. As renovations started and she followed her passion for interior design, Snyder proudly introduced her to staff at the local Carniceria as “an interior designer.” She replied, “That’s not what I do.”
“I told her, ‘If you don’t start saying it, it’s not going to happen,’” says Snyder, 49, who pursued his own dream of becoming a professional skateboarder before moving into video editing. “Speak it to existence.”
Finishing the house took years, patience and a lot of DIY projects because of their budget. But Fahmy didn’t just dream — she made it happen. In 2018, she started working for interior designer Willa Ford, who mentored her at WFord Interiors. By 2020, Fahmy launched her own design firm, Haus of Meeshie. “It’s been a progressive layering of colors, furniture, reupholstering, adding art, wallpaper, lighting,” she says. “Low and slow; the flavor is richer.”
Meeshie Fahmy and Aaron Snyder’s family room is a colorful maximalist dream with thrifted furnishings, art and layered textures and patterns.
Ninety percent of the furnishings are thrifted. “Nothing is too precious,” Fahmy says.
Today, their home reflects Fahmy’s fearless approach — it’s a true “petri dish for experimentation.” The vibrant, layered four-bedroom house is a maximalist fever dream, packed with furniture, accessories and art sourced from Facebook Marketplace, vintage shops, flea markets (Long Beach flea is a favorite), estate sales and secondhand stores in L.A. and elsewhere.
She estimates about 90% of the furnishings and accessories in her home are thrifted, antiques or things she found on the side of the road, and nothing is too precious, reaffirming her playful approach to decor.
A Jonathan Adler dining table, found on sale, sits in front of a wall filled with art arranged salon-style. Among the pieces is Fahmy’s favorite: a wedding portrait her father, Walter Fahmy, painted of her.
The speakeasy features a vintage standing bar from Craigslist, barstools and a Geo pendant light by Los Angeles designer Jason Koharik and a mirror Fahmy found at a neighborhood estate sale.
She likes to refer to her decorating style as “creatively unhinged.”
“It all flows,” she says, curled up with her dogs on a CB2 couch she found on Craigslist. “There’s a rhythm. Every piece tells a story. Pick one — I’ll share it.” She recalls throwing herself on a vintage Baker sideboard at a Florida Goodwill without knowing how she’d get it back to Los Angeles and laughs when Snyder discovers a tiny Jack Black-as-Jesus portrait tucked into a gilded dining-room oil painting.
The sink and vanity in the guest bathroom? That used to be a dresser she found on Craigslist.
Although others have questioned their home purchase, Fahmy never doubted they could transform the space into something special.
Color ties the house together. The powder room is purple, the entry hall is red, the kitchen has blue cabinets and the hallway is painted pink.
“When I first saw the house, when they bought it, I thought she was crazy,” Meeshie’s friend and former colleague, Talene Kanian, says in an email. “Other than keeping the ‘barn’ shape, she completely transformed the interior. Now, when you step inside, you’re welcomed into a home full of color, pattern and playfulness.”
Snyder adds: “Meeshie is able to visualize things 10 steps ahead of everyone else, even things that seem like a complete mess.“
Working together, the couple removed the shag carpeting and wood paneling from the first floor and the stairway, installing drywall in their place.
Next, they painted the walls — no beige here. The deep green living room sets a bold scene: a clock worthy of Dalí, leopard prints, pink Persian rugs, a snake ottoman and a thrifted tufted chair with Art Deco vibes from CB2.
“I did not venture into interior design formally,” Fahmy says. “I feel very lucky to have found this passion.”
The color story flows through the house: The powder room is purple, the entry hall red and the dining room walls pink, with one wall in a bold 1970s-style mushroom-pattern wallpaper from Londubh Studio. The speakeasy features a vintage standing bar from Craigslist that Snyder squeezed into his car, barstools and a Geo pendant light by Los Angeles designer Jason Koharik and a mirror Fahmy found at a nearby estate sale.
In the kitchen, they removed the 1970s-era wooden cabinets and Formica countertops, replacing them with more pink walls, Moroccan-style tile flooring and blue cupboard fronts from Semihandmade, which creates cabinet doors for IKEA cabinets.
Fahmy painted a Keith Haring-style black-and-white mural at the top of the stairs and continued onto the second-floor walls using a paintbrush taped to a broomstick. She finished by painting the handrail bright blue and wrapping each stair with a Persian-style runner.
Outside, the couple leveled the once-dirt backyard, added pea gravel, built a pergola with a handyman and installed a firepit where they enjoy entertaining their friends.
The main bedroom features burgundy walls, while the bathroom next to it has Persian rug-patterned wallpaper from House of Hackney.
Now the once-empty backyard is a lush garden: towers of colorful black-eyed susans on arches, planters of nasturtiums and homegrown vegetables. A trickling fountain greets visitors as they walk through the French doors. Snyder, an avid cook, can easily step out to cut fresh herbs mid-simmer, making the outdoors a true extension of the home.
The couple’s home is full of memories, and as you walk through, you can sense how much their stories matter to them. In the downstairs hallway, Snyder smiles as he points out photos of his family in Wisconsin. Similarly, Fahmy proudly shows a photo of her great-great-grandmother Theresa “Tessie” Cooke Haskins, a noted harpist whose daughter Maud Haskins was the first harpist to perform with the orchestra at the Hollywood Bowl.
Art is everywhere, from the Polaroids pinned to the walls in the powder room to the ceramics and masks hanging throughout the house. Yet Fahmy’s favorite possession is deeply personal: a portrait of her on her wedding day, painted by her father, Walter Fahmy, who studied art in Egypt before coming to America.
Upstairs, Fahmy created a black-and-white mural inspired by Keith Haring at the top of the stairs, then kept going along the second-floor walls using a paintbrush taped to a broomstick. She finished by painting the handrail a bright blue and wrapping each stair with a Persian-style runner.
French doors connect the house to the garden, so the backyard feels like a natural part of the home.
For Fahmy, these details matter. “I feel like our home is a love letter to my upbringing,” she says, referring to her parents, who were both pharmacists. “It’s an ode to them and the sacrifices they made for me.”
Visitors feel the same way. “Their house is a true labor of love, apparent the second you enter,” Kanian adds. “It radiates warmth and love.”
Snyder feels it too. “I feel an immense amount of pride when I walk into our house,” he says.
Like a barn raising that brings people together, their house has become a welcome part of the neighborhood with its blue siding, bright yellow front door and a playful mural by Venice artist and skateboarder Sebo Walker. “We’ve had neighbors knock on our door and tell us, ‘We love what you’re doing,’” says Snyder.
“I love color,” Fahmy says. “I love to experiment.”
With the main house finished for now, Fahmy hopes to turn the garage into an accessory dwelling unit, or ADU, in the style of Mexican architect Luis Barragán: bold with color and texture. “I’m envisioning a mini boutique hotel,” she says. “Simple to execute, yet unique in L.A. I’d love a pink building.”
Like the possibility of a pink building — or not — Fahmy’s freewheeling style proves it’s OK to experiment and make mistakes. (She wants to demo the kitchen next for a fresh look.)
“You’re not tattooing your face. You’re painting your walls,” she says as a way to encourage others to experiment. “Your home should be a reflection of who you are. I hope our home inspires others to live how they want to live.”
The American Library Association’s list of the most frequently challenged books of 2025 includes Sold by Patricia McCormick, The Perks of Being a Wallflower by Stephen Chbosky and Maia Kobabe’s Gender Queer: A Memoir.
American Library Association
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American Library Association
The American Library Association has released its annual list of the most commonly challenged books at libraries across the United States.
According to the ALA, the 11 most frequently targeted books include several tied titles. They are:
1. Sold by Patricia McCormick
2. The Perks of Being a Wallflower by Stephen Chbosky
3. Gender Queer: A Memoir by Maia Kobabe
4. Empire of Storms by Sarah J. Maas
5. (tie) Last Night at the Telegraph Club by Malinda Lo
5. (tie) Tricks by Ellen Hopkins
7. A Court of Thorns and Roses by Sarah J. Maas
8. (tie) A Clockwork Orange by Anthony Burgess
8. (tie) Identical by Ellen Hopkins
8. (tie) Looking for Alaska by John Green
8. (tie) Storm and Fury by Jennifer L. Armentrout
Many of these individual titles also appear on a 2024-25 report issued last October by PEN America, a separate group dedicated to free expression, which looked at book challenges and bans specifically within public schools.
The ALA says that it documented 4,235 unique titles being challenged in 2025 – the second-highest year on record for library challenges. (The highest ever was in 2023, with 4,240 challenges documented – only five more than in this most recent year.)
According to the ALA, 40% of the materials challenged in 2025 were representations of LGBTQ+ people and those of people of color.
In all, the ALA documented 713 attempts across the United States in 2025 to censor library materials and services; 487 of those challenges targeted books.
According to the ALA, 92% of all book challenges to libraries came from “pressure groups,” government officials and local decision makers. While 20.8% came from pressure groups such as Moms for Liberty (as the ALA cited in an email to NPR), 70.9% of challenges originated with government officials and other “decision makers,” such as local board officials or administrators.
In a more detailed breakdown, the ALA notes that 31% of challenges came from elected government officials and and 40% from board members or administrators. In its full report, the ALA states that only 2.7% of such challenges originated with parents, and 1.4% with individual library users.
Fifty-one percent of challenges were attempted at public libraries, and 37% involved school libraries. The remaining challenges of 2025 targeted school curriculums and higher education.
The ALA defines a book “ban” as the removal of materials, including books, from a library. A “challenge,” in this organization’s definition, is an attempt to have a library resource removed, or access to it restricted.
The ALA is a non-partisan, nonprofit organization dedicated to American libraries and librarians.
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