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It’s Time for a Fashion Revolution

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It’s Time for a Fashion Revolution

This year will be a year of seismic change in fashion. That much is a given.

Or actually, it is a given that this will be a year of seismic change in fashion personnel. Starting this month, new designers at eight global brands, including Calvin Klein and Chanel, will be making their runway debuts. As they will at Bottega Veneta, Lanvin, Givenchy, Tom Ford, Alberta Ferretti and Dries Van Noten — with the possibility of more open spots being filled at Fendi, Maison Margiela, Helmut Lang and Carven in the coming months.

Sheesh! Whether that power shift will translate into seismic change in what we wear is a different question.

There has been much speculation as to the source of the turmoil. Much blame has focused on a slowdown in luxury spending (especially in China), as well as global political and economic uncertainty, which has led to a game of Blame the Designer (when in doubt, blame the designer), which led to Change the Designer.

There is a tendency, in such an environment, to play it safe. To fall back into the comfort of a camel coat and assume that what sold well in the past will sell well in the future. To focus on the commercial over the creative.

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This would be a mistake.

It is time for a fashion revolution. The kind of revolution that Coco Chanel created in the 1920s, when she transformed the little black dress, uniform of the serving class, into a status symbol of liberation, apparently causing Paul Poiret to clutch his breast in horror and declare: “What has Chanel invented? Deluxe poverty.” Her clients resembled “little undernourished telegraph clerks,” he sneered.

The kind of revolution that Christian Dior wrought in the postwar era, when he scandalized the world with the New Look, in all its lavishly skirted, wasp-waist glory, inciting riots in the streets against the sheer excess of material. The kind that Yves Saint Laurent ignited during the upheavals of the 1960s, when he adapted the male tuxedo for women, causing Nan Kempner to be cast out of La Côte Basque for the crime of wearing pants.

And the kind that Rei Kawakubo of Comme des Garçons created when she treated darkness and destruction like precious skins as the Cold War collapsed and Francis Fukuyama declared the end of history. Ms. Kawakubo was castigated for promoting “Hiroshima chic,” even as her embrace of the flawed forever shifted ideas about beauty and the body.

Just as, when the millennium turned, Thom Browne was widely mocked for putting grown-up men in short pants (or just plain old shorts) and shrunken jackets. Until those shrink-wrapped gray suits changed not just proportions, but the very meaning of “uniform.”

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Such designs horrified and thrilled in equal measure, but they also rose to the challenge of a changed world and a changing sense of how people dressed — not just at the moment they appeared, but forever after.

Fashion is essentially a story of what the paleontologists Stephen Jay Gould and Niles Eldredge called “punctuated equilibrium,” a theory positing that significant change comes in spurts that interrupt lengthy periods of stability or slow evolution. It’s how we got L.B.D.s, the New Look, pants, the possibilities of destruction.

Out of chaos came creativity. That’s where we are now: at a mass inflection point when the world order is in flux, social mores are shifting, the A.I. era is dawning and it’s not clear how everything will be resolved. The first quarter of the 21st century, with the ascent of streetwear and athleisure, is over. There is a hunger for the defining next.

Hence the outsize reaction to the Maison Margiela couture show last January, when John Galliano, then the house’s designer, offered up a phantasmagorical underworld full of exploding flesh and extraordinary tailoring that was so unlike the current made-for-the-’gram runway that it provoked fits of foot-stomping ecstasy in its audience.

Those clothes were not actually new; they were newly dramatized versions of work Mr. Galliano had done before — throwbacks, with their extreme corsetry and theatricality, to late-20th-century fashion fabulousness. It was the applause more than the actual silhouettes (which haven’t remotely filtered out into the general population) that was telling: the clearly voracious appetite for something that didn’t look or feel like all the things that had come before.

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It was a sign, if any were needed, that the door is wide-open for someone to stop reinventing history and start inventing; to create the thing we didn’t know we wanted, the thing that is impossible to predict, because, by definition, if you can predict it, it isn’t a surprise.

There are designers who are clearly trying: Demna, with his inversion of luxury semiotics at Balenciaga; Jonathan Anderson, with his surreal craftiness at Loewe. These are designers who twist not just items but proportions. Some of their work has jarred the status quo and produced moments of viral indignation (especially Demna, with his haute Ikea bags and eroded sneakers), but as yet, neither has produced a paradigm shift. Wouldn’t that be something to see?

Here’s hoping the new crop tries, that new names and new brains actually make some new clothes, even if at old houses. Thanks to our wildly connected world, the possibilities for one crazy idea of what it means to look modern, to alter the mass sense of self, are almost limitless.

Here’s hoping they seize the moment not to dutifully respect the so-called codes of the house — enough with the codes of the house — but to embrace the abstract ethos of their brands, not the literal shapes from the archives. Not to merely tweak the mold, but to break it and reinvent it. If outrage is the result that’s not necessarily a bad thing, because it’s often an outrage when you see something that challenges your ideas of proper dress.

But it’s an outrage with a purpose. And if there is another lesson that history offers, it is that such outrage eventually pays off.

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Until then, it takes courage for executives and backers to withstand the initial backlash and opprobrium; it takes time for the eye, and wardrobe, to adjust. The problem is that time and forbearance are luxuries rarely offered to designers today. If they are to rise to the occasion, if they are to do the unexpected, they must be granted the space and support to do it.

So c’mon, fashion. Surprise us. Enchant us. Shock us. I dare you.

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‘Wait Wait’ for December 13, 2025: With Not My Job guest Lucy Dacus

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‘Wait Wait’ for December 13, 2025: With Not My Job guest Lucy Dacus

Lucy Dacus performs at Spotlight: Lucy Dacus at GRAMMY Museum L.A. Live on October 08, 2025 in Los Angeles, California. (Photo by Rebecca Sapp/Getty Images for The Recording Academy)

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This week’s show was recorded in Chicago with host Peter Sagal, guest judge and scorekeeper Alzo Slade, Not My Job guest Lucy Dacus and panelists Adam Burke, Helen Hong, and Tom Bodett. Click the audio link above to hear the whole show.

Who’s Alzo This Time

Mega Media Merger; Cars, They’re Just Like Us; The Swag Gap

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Panel Questions

An Hourly Marriage

Bluff The Listener

Our panelists tell three stories about a new TV show making headlines, only one of which is true.

Not My Job: Lucy Dacus answers our questions about boy geniuses

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Singer-songwriter Lucy Dacus, one third of the supergroup boygenius, plays our game called, “boygenius, meet Boy Geniuses” Three questions about child prodigies.

Panel Questions

Bedroom Rules; Japan Solves its Bear Problem

Limericks

Alzo Slade reads three news-related limericks: NHL Superlatives; Terrible Mouthwash; The Most Holy and Most Stylish

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Lightning Fill In The Blank

All the news we couldn’t fit anywhere else

Predictions

Our panelists predict what will be the next big merger in the news.

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L.A. Affairs: I had casually known her for 5 years. Was I finally ready to make a move?

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L.A. Affairs: I had casually known her for 5 years. Was I finally ready to make a move?

In Fairfax, nestled on Beverly Boulevard near Pan Pacific Park, I ran a modest yet beloved pan-Asian restaurant called Buddha’s Belly. More than a place to eat, it was a gathering spot where our team and loyal regulars created an atmosphere of warmth and community. Every day, we exchanged stories about our guests, the generous, the quirky and the kind souls whose smiles lit up our little corner of L.A.

For five years, one regular stood out. The Buddha’s Belly team referred to her as “Aloha.” She had a familiar and beautiful face and she adored our shao bing finger sandwiches and pad Thai. During those five years, all I ever said to her was: “How’s your pad Thai?,” “Nice to see you” and “Thanks for coming in!” Her friendly smile and presence were the highlights of our routine interactions.

Then one hectic afternoon changed everything. Rushing to a meeting and about to leap into my car, I caught a glimpse of Lynda sitting at Table 64, smiling at me through our bamboo-lined patio (a.k.a. “bamboo forest”). I went over to say a quick hi.

“How’s your pad Thai?” I asked, and then I was off.

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A couple blocks from the restaurant, I was struck by the feeling that our brief encounter was different this time. There was a spark — a look in her eye. So I did something out of character: I called the manager on duty and asked him to go to Table 64, Seat 3, and ask for her number.

The next day, I found a business card on my desk with Lynda’s cell number. It was on! That small gesture signaled the start of something extraordinary.

Eager to seize the moment, I called and invited her out for a date that same weekend. However, it was her birthday month, and that meant her calendar was booked solid for the next three to four weekends. Not wanting to let time slip away, I proposed an unconventional plan: to join me and an octogenarian friend at our annual opening night at the Hollywood Bowl. Little did I know this would turn out to be equal parts amazing and mortifying. My friend was so excited — she had no filter.

Shortly after picking up our dinner at Joan’s on Third, my friend started asking Lynda questions, first light questions like “Where are you from?” and “What do you do?” Then once seated at the Bowl, her questions continued. But now they were more pointed questions: “Have you ever been married?” and “Do you have kids?”

Amazingly, Lynda didn’t flinch, and her honesty, unfiltered yet graceful, was refreshing and alluring. She had been through life’s fires and knew that when it’s a fit, it should not be based on any false pretense. Although I did manage to get a few questions in that evening, I still chuckle at the memory of myself, sitting back, legs extended with a note pad in hand taking notes!

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After dropping her off, she didn’t know if she would hear from me, as she didn’t know anything about me. But I didn’t wait three days to contact Lynda. I called her the next day to make plans to see her again. With it still being her birthday month, I asked her to join me that night for a surf film at the Ford with my best buddy. She said yes, and there we were on another chaperoned date.

By our third date, we were finally alone. We ventured to an underground gem affectionately dubbed the “Blade Runner” restaurant. Hidden on Pico Boulevard behind no obvious sign and characterized by hood-free mesquite grills and stacked wine crates, the place exuded a secret charm. Sharing a bottle of wine with the owner, our conversation deepened, and the electricity between Lynda and me became undeniable.

Our story took another turn when I was opening a new bar named Copa d’Oro (or Cup of Gold) in Santa Monica that was similar to a bar down the street called Bar Copa. The owner of Bar Copa invited me to discuss whether the concept was going to be too like his own. While we waited in the packed room, I instinctively put my hand around the small of Lynda’s back to steady us from the ebb and flow of the crowd of people around us. The intensity of our closeness and the energy between us was palpable, and we soon found ourselves at a quieter bar called Schatzi on Main where we had our first kiss.

Our courtship continued, and it would be defined by ease and grace. There were no mind games or calculations. One of us would ask whether the other was free, and it was an easy yes. Our desire was to be together.

I fondly remember being at a Fatburger not far from where Lynda lived, and I phoned her to ask if she wanted to sit with me as I scarfed down a Double Kingburger with chili and egg (yum!), and she said yes. By the time she arrived, I was halfway through eating the sandwich. But I was practicing a new way of eating a sloppy burger that my brother taught me. Why bother to continuously wipe your mouth when you’re only going to mess it up with the next bite? To save time and energy, wipe your mouth once at the end.

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I was practicing this new technique with a smear of sauce on my face, and it didn’t faze her one bit. I could only imagine what her internal monologue was!

After six months of effortless companionship, I asked Lynda to move in, and a year later, while at Zephyr’s Bench, a serene and cherished hiking spot in the Santa Monica Mountains behind Bel-Air, I asked her to marry me.

Now, more than 17 years later, with two beautiful boys and our pandemic dog in tow, I can say I found my own aloha right here in the vibrant chaos of Los Angeles.

The author lives in Santa Monica with his wife and two children. They go to the Hollywood Bowl every chance they can. He’s also aspiring to make it into the Guinness World Records book.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

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‘The Mask’ and ‘Pulp Fiction’ actor Peter Greene dies at 60

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‘The Mask’ and ‘Pulp Fiction’ actor Peter Greene dies at 60

Actor Peter Greene at a press conference in New York City in 2010.

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Actor Peter Greene, known for playing villains in movies including Pulp Fiction and The Mask, has died. Greene was found dead in his apartment in New York City on Friday, his manager and friend, Gregg Edwards, told NPR. The cause of death was not immediately provided. He was 60 years old.

The tall, angular character actor’s most famous bad guy roles were in slapstick and gritty comedies. He brought a hammy quality to his turn as Dorian Tyrell, Jim Carrey’s nemesis in the 1994 superhero movie The Mask, and, that same year, played a ruthless security guard with evil elan in the gangster movie Pulp Fiction.

“Peter was one of the most brilliant character actors on the planet,” Edwards said.

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He went on to work steadily, earning dozens of credits in movies and on TV, such as the features Judgment Night, Blue Streak and Training Day, a 2001 episode of Law & Order, and, in 2023, an episode of The Continental, the John Wick prequel series.

At the time of his death, the actor was planning to co-narrate the in-progress documentary From the American People: The Withdrawal of USAID, alongside Jason Alexander and Kathleen Turner. “He was passionate about this project,” Edwards said.

Greene was also scheduled to begin shooting Mickey Rourke’s upcoming thriller Mascots next year.

Rourke posted a close-up portrait of Greene on his Instagram account Friday night accompanied by a prayer emoji, but no words. NPR has reached out to the actor’s representatives for further comment.

Peter Greene was born in New Jersey in 1965. He started pursuing acting in his 20s, and landed his first film role in Laws of Gravity alongside Edie Falco in 1992.

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The actor battled drug addiction through much of his adult life. But according to Edwards, Greene had been sober for at least a couple of years.

Edwards added that Greene had a tendency to fall for conspiracy theories. “He had interesting opinions and we differed a lot on many things,” said Edwards. “But he was loyal to a fault and was like a brother to me.”

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