Lifestyle
L.A. brand 424 understands quality clothes, and they've never been at this level before
It’s now been a year since the luxury streetwear brand 424 opened its cave-like home and store on Melrose Place, and what the store offers on the block is decidedly different. In the words of founder Guillermo Andrade, “There’s a place for you here.” Andrade, who previously ran his store on Fairfax, offers that rare combination of accessible clothes — hoodies, jackets, jeans, tees — of the highest quality. “I’m giving you something so familiar, yet so new, so fresh, so unexpected, but obvious at the same time,” he tells Keyla Marquez, Image’s fashion director at large.
This week marked 424’s first runway show at Paris Fashion Week, which for Andrade felt like the natural culmination after seven years of making and selling clothes in Paris and Milan. To celebrate this accomplishment, Marquez sat with Andrade at his store ahead of the show to reflect on the effort and vision that brought him here. “It’s never been at this level before,” he says of the 33 looks he put together. Photographer Carlos Jaramillo was at the Paris show on Tuesday to capture some special backstage moments.
Guillermo Andrade, founder of 424, at Paris Fashion Week.
Keyla Marquez: We are here on Melrose Place. What’s good, G?!
Guillermo Andrade: It’s like the Wild West. Musicians are inclined to copy the hot song instead of sticking to the spirit in their soul. Because the label is like, “Bro, that song is a hit — if you did a version of this, it would hit.” And it’s this vicious cycle. It’s fully incestualized. It’s so far away from the original that it’s just kind of a chicken with its head cut off. It’s essentially just the blind leading the blind. Then someone stands out because they’re quirky, and then the big machine is like, “Oh my God, this has wheels, it popped off on TikTok!” And then all the main players now suck the soul of this one thing. That’s fashion.
KM: But it doesn’t have to be that way. I feel like with us, it’s really important to be intentional with the stories that we’re telling.
GA: It’s skin color, our family history, our position in this society, the community, you know? Not just L.A., not just the fashion community, but at large, the American community. Our representation is still not defined. How is it possible? We’re like f–ing half of the country. Physically.
KM: What do you think is the American Dream now?
GA: The American Dream shifted so far from that original pitch that was given to everybody. It looks like us now. We are more representative of what chasing that dream actually looks like, because we’re laboriously doing it. Like we are those animals [burrowing] through the dirt — they get to the gold. We’re in that process. I’m even owning this, like I’m patriotic now. I’m American now. Because I think we have to send a positive reflection.
When I did my first presentation in Milan, it was still kind of COVID, and I did a video contribution, and it was in the calendar and the tagline that WWD wrote was “an American in Milan.”
KM: What do you think about that?
GA: I felt some type of survivor’s guilt. But at the same time, you’re able to look at that and say, you know what? That’s my face there. And it says American on the world stage. It’s also important, so that my brothers [see] a face that looks like them attached to it. I didn’t realize that in Europe they call us Americans. I was just another immigrant, another wetback. The thing is, the second you speak English, they know you’re from California. Because especially in Italy, they love California. Specifically, L.A. — they love Los Angeles.
“The show is really a response to the state of all the work that I’ve been putting in, so now it’s time to really send that communication out to the world,” says Andrade.
KM: How was getting into Paris Fashion Week for you? Was it hard getting in?
GA: The calendar is all politics. You have to engage to a certain degree. And they play hot and cold. No matter what happens, you continue to push forward. For example, I’m not doing the show because the calendar says it’s time to do the show. I’m doing the show because I’ve been in Paris now seven years, two times a year. That’s where I do my market, that’s where I do the sales to all my stores. The brand is at a point now where I can’t walk every buyer through the collection every single time during the week that we have to do our sales. Because you lose steam after the 40th, 50th appointment of walking a buyer and telling them the story, showing them the techniques, showing them the product — you start to sound like a broken record. The buyer can really feel it when you deliver a singular message that they can see, that they can feel.
KM: Your appointments are more intentional.
GA: The show is really a response to the state of all the work that I’ve been putting in, so now it’s time to really send that communication out to the world. I’m at the moment now where every single piece in that rack, even though there’s a lot of pieces, they all connect to each other. Nothing in the collection is there by accident. You can wear the whole collection together.
KM: It’s literally like one person’s closet. I’m like, “G just makes clothes for himself and somehow it sells.”
GA: One hundred percent. And it took me nine years now, more or less.
KM: But you found the code that works for you.
GA: This is finally it. It’s never been at this level before. Both the quality of the product execution and to make and deliver production at that level. For independent brands, it’s not feasible. My personal life savings is in that s—. It’s not just like, “Oh, I got some money from these people, now I make nice things.” No, those are painstaking ideas that take years and years to develop.
KM: I feel like every collection is just a different variation of the last, and it just gets better and better.
GA: There are a lot of pieces that I’ve been making every season since I started, literally the same piece over and over and over and over again. And a lot of them arrived basically at the point where it’s like, don’t touch it, it’s done, it’s finished. And they’re going to stay permanently. They might not be merchandising to every single season, but when we do use it, it’s finished — the trucker jacket finished, the trench coat finished, the wide leg pant finished, the skinny leg pant finished, the baggy shorts finished. I’ve finally arrived at the place where finally that jacket’s done. But we will continue to tweak it, to improve the construction to maximize our production efforts to make sure that we’re really making the best quality clothes possible.
KM: I feel like whatever medium you would have gotten into, you would have been a great storyteller. But why fashion?
GA: I’ve been chopping and screwing my clothes for as long as I can remember. I had no idea that that was a thing people do. Or that fashion was a job that people could do.
I was super poor growing up — getting evicted for living in your car poor. Actively trying to figure out how to pay your bills. But I never felt poor, so I always used clothes as a way to protect myself or shield myself. And I dressed great. I would go to wherever I had to make sure that I looked sick at school. I was just always a really savvy shopper; I was always particular about the things I would buy. I grew up wearing bootleg clothes, fake sneakers, Goodwill or thrifted stuff. I didn’t even know what thrift stores were, I just thought it was a place where rich people sell their clothes because I would go in and I would buy blazers and Armani Exchange stuff. I would buy goofy s– that was way too big on me, like pink polos or rugby shirts, and I would just oddly stitch them in the back, so in the front it would look like it fit me but then I would put a coat over so you wouldn’t be able to tell. It was super punk rock; it was more like styling just to make it look cool on me. The Oakland flea market, usually everything that was super popular they had it there, so I would just buy it, and then kids started thinking that I had a plug that they didn’t have, so then I would sell them that s— at a premium.
KM: You were already doing this in high school. It was like survival-style hustler.
GA: Since I was a kid. I had no clue that it was ever going to be my job.
KM: How long have you been making everything in Milan? How was that transition?
GA: 2017 I was ready. I wanted a perfectly sewn shirt.
KM: I was going to ask, are they annoyed that you’re always there?
GA: One hundred percent, they hate it, and when I started bringing [Valeria Semushina, my partner who styles our shows], it was even worse because she understands the language.
Yasiin Bey at the 424 Paris Fashion Week show.
Valeria Semushina: I think Italian fabric [designers have] never seen anybody crazier than you, because once [G was] like, “I want destroyed leather, it should be very destroyed.” They couldn’t understand what it meant. So, we put it on me and there is this video of me and it was very rainy outside, it’s super dirty. I was just rolling around and trying to scratch all this leather. And [G] said, “That’s how it should look.” But what’s funny is that when the product was done, they were like, “Que bello!”
GA: No one goes into Loro Piana and actually finds something cool to wear. Because when they conceptualize this dream, they did not have us in mind. Ralph Lauren included his universe, and as beautiful as it may be, it didn’t take us into account. By default, it can never be for us. We have to assimilate if we want to be a part of this world. If I want the highest quality, I have to go to a brand that offers it — and that brand never expected me to come and take part in their world. I love quality, I love products and I love interesting stories. Those brands that I just mentioned, I love them, I think they’re awesome, they just don’t love me. I have to adapt who I am as a person to take those products into my life and make them look cool on me. 424 is that: It’s saying, I get it, I love it, but I understand it’s not for me, so here’s my version.
KM: I told you, I bought your sweater three times. Three times. The first one, I bought with my best friend Isaiah at the store, we bought the same sweater together. Then we both put it in the washer, not realizing. I still wear it sometimes. It’s just not as cozy, just a little harder but still fits; I wear it to sleep sometimes. Then I bought it again on some random website that was selling it, but the story doesn’t end there. I was going to Paris for Fashion Week and randomly the girl sitting next to me was also wearing a 424 sweater. This should have been a sign to hold on to that sweater, in retrospect. But then I got hot, took it off and I lost it at the airport — I had the Uber take me back, I literally went up and down and I was so sad. I was like, “Not again!” Lastly, SSENSE had one, their last one, an XXXL, and I just bought it. It’s huge but I don’t care, that is how much I love this sweater. Three times. I am your forever customer. That’s what I love about your pieces, that they are forever pieces. I’m going to wear that sweater forever.
So, what’s next?
GA: I absolutely love the good, the bad, the ugly of everything that’s happened. Everything here is really like pure. Everything here is what I always wanted it to be.
KM: I can tell there’s so much love here. G, it’s really beautiful. Coming to your parties and just seeing everyone come together. This energy you’ve harnessed is really beautiful to experience.
GA: We have a new thing that we can do. The block, the pull-up is different now. You can pull up to Melrose Place. There’s a place for you here.
Kylie Jenner
Cosmic Cleavage …
Flaunts Boobs While Pushing New Fragrance
Published
Kylie Jenner‘s full-bodied new fragrance is out … and, she’s using her bust to promote it — pushing up her cleavage for the ad.
The model posed in the sleeveless red leather top which perfectly matched the fragrance bottle she held against her head.
Waiting for your permission to load the Instagram Media.
The star’s looking away from camera … though we imagine if she could see fans looking at the pic, she might tell them her eyes were up about a foot or so!
She captioned the post by telling fans the new smell is called COSMIC INTENSE … a spin-off of her original “COSMIC” which feels “warmer, creamier, and even more addictive.”
KJ’s gotta promote the perfume now because she’s not going to have much time to work on her business in upcoming weeks … as we imagine she’ll attend every awards show with her man, Timothée Chalamet.
As you know … Chalamet got handsy with Jenner shortly after winning the Critics Choice Award for Best Actor — grabbing her backside while sitting in the audience. He’d just said he loved her in his acceptance speech as well.
Maybe Chalamet will grab a bit of her cosmic cleavage if he wins a Golden Globe this weekend!
A view of the John F. Kennedy Center for the Performing Arts, which the current board is calling the Trump Kennedy Center, in Washington, DC, on Dec. 26, 2025.
Brendan Smialowski / AFP via Getty Images
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Brendan Smialowski / AFP via Getty Images
The Washington National Opera is leaving the John F. Kennedy Center for the Performing Arts, its home since 1971.
Friday’s news, shared with NPR in a statement via email from the opera company, comes in response to new policies which the 70-year-old performing arts group said strain its financial model.
The Washington National Opera stressed the “amicability” of its decision to end its longtime residency at the Kennedy Center. But it said the center’s new business model, which requires productions to be fully-funded in advance, is incompatible with the usual mix of ticket sales, grants and donations that cannot all be secured ahead.
“Opera companies typically cover only 30-60% of costs through ticket sales, with the remainder from grants and donations that cannot be secured years ahead when productions must be planned,” the statement said.
The company added the model also does not accommodate its artistic mission, which aims to balance popular works such as West Side Story, slated for May 2026, with more obscure and experimental operas, such as the little-known Scott Joplin work, Treemonisha, scheduled for March. “Revenue from major productions traditionally subsidizes smaller, innovative works,” the statement said.
Artistic director Francesca Zambello, who has led the company for 14 seasons, shared her regrets in a statement with NPR, while also looking to the future.
“I am deeply saddened to leave the Kennedy Center,” Zambello said. “In the coming years, as we explore new venues and new ways of performing, Washington National Opera remains committed to its mission and artistic vision. Our repertory will continue to include diverse offerings, from monumental classics to more contemporary works, presented in bold visual productions with first-class musical values.”
In addition to a continued presence for now on the Kennedy Center website, the opera company launched its new independent website within a few hours of its announcement.
“After careful consideration, we have made the difficult decision to part ways with the Washington National Opera due to a financially challenging relationship,” the Kennedy Center wrote in an email to NPR on Friday. “We believe this represents the best path forward for both organizations and enables us to make responsible choices that support the financial stability and long-term future of the Trump Kennedy Center.”
On social media, Kennedy Center executive director Richard Grenell said it was the center’s decision to sever ties with the opera company — and not the other way around.
“The Trump Kennedy Center has made the decision to end the EXCLUSIVE partnership with the Washington Opera so that we can have the flexibility and funds to bring in operas from around the world and across the U.S.” Grenell said. “Having an EXCLUSIVE relationship has been extremely expensive and limiting in choice and variety.”
Grenell reposted his message on Saturday after he was alerted that his X.com account had been hacked and the original message had been removed.
President Donald Trump was named chairman of the Kennedy Center’s board in February 2025. His name was added to the Kennedy Center in December following a vote by the Trump-appointed members of its board. Since the power of the venue’s board to rename the center is currently in dispute, NPR continues to refer to the Kennedy Center using its legal name.
A string of exits
The Washington National Opera’s departure is the latest and perhaps most significant in a string of artist exits from the cultural institution since Trump took over the institution.
Backlash from ticket-buyers, slated performers, and certain board members—including Shonda Rhimes—was swift.
Artists are continuing to cancel performances. But one of the first to do so was a touring production of the musical Hamilton. In a statement on X in March 2025, producer Jeffrey Seller said he opposed the Trump administration’s ousting of many Democratic board members.
“The recent purge by the Trump Administration of both professional staff and performing arts events at or originally produced by the Kennedy Center flies in the face of everything this national center represents,” wrote Seller.
Actress and writer Issa Rae followed suit with a post on Instagram, cancelling her sold-out March performance.
A slew of additional artists and performance companies canceled after the board’s vote to rename the center “The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts.” Congress has not yet authorized the name change.
Grenell has responded to many cancellations on social media, condemning the artists. After Banjo player Béla Fleck canceled his performance because he said the center had become “political,” Grenell wrote on X, “You just made it political and caved to the woke mob who wants you to perform for only Lefties.
“This mob pressuring you will never be happy until you only play for Democrats. The Trump Kennedy Center believes all people are welcome—Democrats and Republicans and people uninterested in politics. We want performers who aren’t political—who simply love entertaining everyone regardless of who they voted for.”
Find a running list of these cancellations below.
Sonia De Los Santos
On Jan. 8, singer-songwriter Sonia De Los Santos announced on Instagram that she was canceling her upcoming February concert at the Kennedy Center. “As an artist,” wrote De Los Santos, “I treasure the freedom to create and share my music, and for many years I have used this privilege to uplift the stories of immigrants in this country.”
De Los Santos, who was nominated for a Latin Grammy for best children’s album in 2018, stated that “I do not feel that the current climate at this beloved venue represents a welcoming space for myself, my band, or our audience.”
Béla Fleck performs onstage during the 67th Annual Grammy Awards Premiere Ceremony at Peacock Theater on Feb. 2, 2025 in Los Angeles.
Leon Bennett/Getty Images for The Recording Academy
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Leon Bennett/Getty Images for The Recording Academy
Béla Fleck
Performing at the Kennedy Center “has become charged and political, at an institution where the focus should be on the music,” wrote American banjo player Béla Fleck about his scheduled appearance with the National Symphony Orchestra in an official statement posted to Instagram on Jan. 7. “I have withdrawn from my upcoming performance with the NSO at The Kennedy Center,” he wrote. “I look forward to playing with the NSO another time in the future when we can together share and celebrate art.”
The 18-time Grammy winner has performed at the Kennedy Center in the past.
Stephen Schwartz
The composer and lyricist for the beloved musicals Wicked, Godspell and Pippin was expected to host a gala fundraiser for the Washington National Opera in May 2026. On Jan. 2, Schwartz announced his withdrawal. According to NBC News, Schwartz reflected that the Kennedy Center was “founded to be a political home for free artistic expression for artists of all nationalities and ideologies.” Today, he said, making an appearance “has now become an ideological statement.”
Richard Grenell quickly responded to Schwartz’s withdrawal, calling it a “bogus” report in a statement posted on X and saying reporters were plagiarizing a “fake @RollingStone story.” Schwartz was “never signed,” Grenell wrote.
Reports from NBC and other outlets, including Variety, have refuted this claim, publishing screenshots showing that Schwartz was promoted on the Kennedy Center’s website prior to his cancellation.
Stephen Schwartz attends the 2025 Songwriters Hall Of Fame Induction Ceremony at Marriott Marquis Times Square on Jun. 12, 2025 in New York City.
Theo Wargo/Getty Images for Songwriters Hall Of Fame
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Theo Wargo/Getty Images for Songwriters Hall Of Fame
The Cookers
The seven-piece band of veteran jazz musicians announced shortly before Dec. 31 that they would not perform at the Kennedy Center for “A Jazz New Year’s Eve:”
“We know this news is disappointing,” reads the statement on their website. “We are not turning away from our audience, and do want to make sure that when we do return to the bandstand, the room is able to celebrate the full presence of the music and everyone in it. Our hope is that this moment will leave space for reflection, not resentment.”
The statement went on to say, “We remain committed to playing music that reaches across divisions rather than deepening them.”
Chuck Redd
The American jazz drummer and longtime host of the Kennedy Center’s annual Christmas Jazz Jam chose to cancel his 2025 appearance when he “saw the name change on the Kennedy Center website and then hours later on the building,” according to a statement sent to the Associated Press.
On Dec. 27, the Kennedy Center announced its plan to file a $1 million lawsuit against Redd. “Any artist canceling their show at the Trump Kennedy Center over political differences isn’t courageous or principled—they are selfish, intolerant, and have failed to meet the basic duty of a public artist: to perform for all people,” said Kennedy Center spokesperson Roma Daravi.
In a letter shared with NPR, Richard Grenell condemned Redd: “Regrettably, your action surrenders to the sad bullying tactics employed by certain elements on the left, who have sought to intimidate artists into boycotting performances at our national cultural center.”
Doug Varone and Dancers
“The renaming for me has kind of pushed me off a cliff,” said choreographer Doug Varone on Dec. 31, when he spoke with NPR’s Morning Edition. Varone, who was set to showcase members of his Doug Varone and Dancers company at the Kennedy Center in April 2026, pulled the performance.
John F. Kennedy, for whom the Kennedy Center was established as a living memorial, “believed in the arts as kind of the beating heart of our nation,” said Varone.
“I believe that the level of artistry has dropped drastically since the administration change, and the employees that were responsible for the quality of the work at the center have all been let go.”
After canceling, the company started a crowdfunding campaign to help offset its financial loss. It raised over $42,000, exceeding its $40,000 goal.
Magpie
In a statement posted to Facebook on Jan. 5, Greg Artzner of the American folk duo Magpie announced the decision to pull their Feb. 28 concert, set to play on the Kennedy Center’s Millennium Stage.
“There isn’t really anything defensible” about Trump, said the statement from Artzner and Magpie’s Terry Leonino. Although they had planned an evening of songs with messages of unity and hope, “We are personally and philosophically in agreement with the belief underlying the growing boycott,” they said. “The stand being taken by fellow artists we respect and admire has created a moral picket line. We stand with them in solidarity.”
An update on Jan. 9 said that Magpie would now be performing a longer version of that concert on Feb. 21 at Seekers Church in Washington, D.C., now called, “The Traveling John F. Kennedy Center for the Performing Arts Restoration Roadshow.”
Kristy Lee
Folk singer Kristy Lee canceled her Jan. 14 Kennedy Center performance due to “recent efforts to impose political branding on the Center,” according to a statement posted on her website.
“Public arts spaces should be free from political influence,” Lee said in her statement. “I step back out of respect for artistic freedom and the Kennedy Center’s founding mission, not in opposition to its staff, artists, or audience.”
On Jan. 14, Lee plans to host a live-streamed concert instead, titled “Showing Up: From the Kennedy Center to the Couch.”
Low Cut Connie
Philadelphia rock and roll band Low Cut Connie pulled their concert, set for February 2025, “Upon learning that this institution that has run non-partisan for 54 years is now chaired by President Trump himself and his regime,” according to a statement posted on their Facebook page.
“Maybe my career will suffer from this decision,” wrote band frontman Adam Weiner, “but my soul will be the better for it.”
Rhiannon Giddens
In Feb. 2025, folk singer Rhiannon Giddens announced her departure from the Kennedy Center lineup in a social media statement. “I cannot in good conscience play at The Kennedy with the recent programming changes forced on the institution by this new board,” wrote Giddens.
Giddens transferred her May 11 concert, “Old-Time Revue,” to The Anthem concert hall, also in Washington, D.C.
Balún
The Puerto Rican band, based in Brooklyn in New York City, canceled their Kennedy Center performance, which had been set for Feb. 27, 2025.
According to a statement posted to Balún’s Instagram account, “recent events made it clear that the space no longer aligns with our values. Our safety, integrity, and commitment to justice come first.”
Issa Rae attends HBO’s final season premiere of “Insecure” at Kenneth Hahn Park on Oct. 21, 2021 in Los Angeles, California.
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Kevin Winter/Getty Images
Issa Rae
“Thank you so much for selling out the Kennedy Center for ‘An Evening With [Me],’” wrote Issa Rae, the acclaimed star and creator of HBO’s Insecure, on her Instagram stories page in Feb. 2025. “Unfortunately, due to what I believe to be an infringement on the values of an institution that has faithfully celebrated artists of all backgrounds through all mediums, I’ve decided to cancel my appearance at this venue.”
“Hamilton”
In March 2025, Hamilton producer Jeffrey Seller announced on X that the Tony-award winning musical phenomenon would no longer run as scheduled at the Kennedy Center. According to the statement, the decision was made both for political and for business reasons. Not only was there “a new spirit of partisanship,” the statement read in part, but “it would be “financially and personally devastating to the employees of Hamilton if the new leadership of the Kennedy Center suddenly canceled or re-negotiated our engagement. The actions of the new Chairman of the Board in recent weeks demonstrate that contracts and previous agreements simply cannot be trusted.”
The Kennedy Center was swift to respond to Hamilton‘s cancellation. On X in a now-deleted post, Richard Grenell accused Hamilton star and creator Lin Manuel-Miranda of being “intolerant of people who don’t agree with him politically,” and stated that the decision was “a publicity stunt that will backfire.”
In the months since the show’s cancellation at the Center, Hamilton has continued to sell out theaters on Broadway and in venues nationwide who host its North American touring company.
U.S. Marine Band
The U.S. Marine Band announced in February 2025 that the Marine Band would not perform in the Equity Arc Wind Symphony event, a collaboration between Marine Band members and selected high school musicians.
The U.S. Marine Band, known also as “The President’s Own” was founded by an Act of Congress in 1798, making it the country’s oldest professional music organization.
Composer Kevin Charoensri, whose music had been scheduled to be performed by the band at the event, stated in a Facebook post that Diversity, Equity, and Inclusion (DEI) orders resulted in the cancellation of the Equity Arc concert:
“It has come to my attention that the program, one based on equity and diversity of voices, is no longer supported at the federal level under this administration,” Charoensri wrote. “It was for this reason that the program and performance were canceled.”
The U.S. Marine marching band performs in the 120th Tournament of Roses Parade January 1, 2009 in Pasadena, California.
Alberto E. Rodriguez/Getty Images
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Alberto E. Rodriguez/Getty Images
Jennifer Vanasco edited this story.
Happy new year! I’m Jaclyn Cosgrove, an outdoors reporter at the L.A. Times.
The deluge of rain and snow has paused, and the sun is out in Los Angeles. It’s a beautiful time for a winter hike in L.A. County.
I’d love for you to join me and Times wellness writer Deborah Vankin, alongside our friends at Zócalo Public Square, at 9 a.m. Jan. 31 as we hike through Placerita Canyon Natural Area, an east-west canyon east of Santa Clarita with lush oak woodland, chaparral and a seasonal creek.
We will start our trek with a gentle stroll to the Oak of the Golden Dream, where the first authenticated gold discovery by colonizers took place in California in 1842.
Then Vankin and I will lead 40 hikers along Canyon Trail, which will be 3.6 miles round trip. The hike includes an area where natural “white oil” bubbles up from the earth, which locals reportedly used to collect to fill their Ford Model T fuel tanks.
Parking is free and easy. We will meet in front of the Placerita Canyon Nature Center (19152 Placerita Canyon Road in Newhall).
We will have water bottles and snacks for attendees, but you’re also welcome to bring your own. You must be 18 or older and will be required to sign a waiver prior to attending. (Please consider arriving 15 minutes early to leave time for waiver signing.)
Grab a spot on Tixr.
Note: The hike will be rescheduled if rain is in the forecast.
A winter hike with the Los Angeles Times and Zócalo Public Square
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