Lifestyle
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.
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.”
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.
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.
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.

Lifestyle
Jack Katz, Pioneer of the Graphic Novel, Is Dead at 97

The volumes were originally issued by the publishing arm of Comics & Comix, a retailer in Berkeley, and later by Bud Plant, a founder of Comics & Comix.
After completing his masterwork, Mr. Katz continued to paint and teach art. Along the way, he published two books on the art of anatomy, two volumes of sketchbooks and another graphic novel, “Legacy,” about the mysterious fate of a billionaire’s fortune, written with the comics veteran Charlie Novinskie.
Mr. Katz’s survivors include two sons, Ivan and David, and two daughters, Beth and Laura Katz, as well as grandchildren and great-grandchildren. His three marriages ended in divorce.
Around 2013 — the year Titan Comics reissued “The First Kingdom” — Mr. Katz embarked on an ambitious follow-up to his masterwork: a 500-page graphic novel called “Beyond the Beyond,” which he financed in part through the crowdfunding site Indiegogo, while toiling away on it up to 18 hours a day, often in his pajamas, he said in a 2015 video interview. He added that he already had the story by the time he was 12, and that “The First Kingdom” was basically its preamble.
“All of these people, they were, ‘Oh, you’re 45, you’re over the hill!’” he told ICv2, recalling the early days of “The First Kingdom.” “I’m 85 now! I’m ready to take on ‘Beyond the Beyond’!”
That work, completed in 2019, remains unpublished. Then again, Mr. Katz understood the challenges going in.
“For heaven’s sake,” he said, “you know, if you climbed Mount Everest one time, it’s not a snap the second.”
Lifestyle
L.A. Affairs: Nothing scared me more than intimacy — except L.A. freeways. But I had to face them both

The first time I ever drove on the freeway was to tell my girlfriend that I loved her. At this point, I had lived in L.A. for four years. “You can’t not drive in L.A.,” everyone said when I moved here. But I worked from home and lived relatively close to most of my friends. I had Lyft and Uber, a TAP card and a borderline unhinged love of walking. My excuse was that I didn’t have a car and couldn’t afford to buy one, which wasn’t a lie. But the real reason was I was scared of driving and I had decided to succumb to that fear.
I wasn’t always an anxious driver. Growing up in Massachusetts, I got my license at 16 and cruised around in my grandma’s 1979 Peugeot that had one working door and wouldn’t have passed a safety inspection. But I felt invincible. Then I grew into a neurotic adult with an ever-growing list of rational and irrational fears — from weird headaches and mold to running into casual acquaintances at the grocery store.
In my early 30s, I developed a terrible phobia of flying. “It’s so much safer than driving in a car!” people said to comfort me. So I did some research. This did not assuage my fear of flying, but it did succeed in making me also afraid of driving. I lived in New York City at the time, where being a nondriver was easy. In L.A., it was less easy, but I made it work.
When I was single, I appreciated that dating apps let me sort potential matches by location. I set my limit to “within five miles” from my apartment in West Hollywood and tried to manifest an ideal partner who would live within this perfectly reasonable radius. This proved somewhat complicated. My first boyfriend in L.A. moved from Los Feliz to Eagle Rock six months into our relationship, and we broke up. There were other issues, but the distance was the final straw.
I did eventually get a car but was restricted by my intense fear of the massive, sprawling conduits of chaos known as the L.A. freeways. Lanes come and go. Exits appear out of nowhere. And everyone drives like they’re auditioning for “The Fast and the Furious.” So I took surface streets everywhere, even when it doubled my driving time. I became pretty comfortable behind the wheel as long as I remained in my little bubble of safety. Then I fell in love.
Spencer and I met 14 years ago through a close mutual friend when we both lived in Brooklyn. Our friend had talked her up so much that I was nervous to meet her as if she were a celebrity, but she immediately made me feel at ease. She’s confident and comfortable in her skin but also exudes a warmth that makes people feel secure. At the time, I was newly sober, and feeling comfortable — especially around someone I’d just met — was rare.
Not long after we met she moved to Philly, and our lives went in different directions. She was starting med school. I was writing for an addiction website and doing stand-up comedy. She was living with her long-term girlfriend. I was trying to date the most emotionally unavailable people I could find, which my therapist (and every self-help book in Barnes & Noble) attributed to a fear of intimacy.
A decade later, we both ended up in Los Angeles. She had broken up with her girlfriend and was a resident at UCLA. I was taking screenwriting classes and walking everywhere. We texted a few times to hang out, but then the COVID-19 pandemic hit, keeping her busy in the hospital and me busy at home spraying my groceries with Clorox. Multiple vaccines later, we finally met up at the AMC theater at the Century City mall. Just as I remembered, she felt like home.
Over the next few months, we went to about nine movies together, our hands occasionally touching in a shared bucket of popcorn, before I finally got the courage to tell her I had developed feelings for her. We’d become close friends at this point, and the stakes felt alarmingly high. Also, she was emotionally available. Uncharted territory for me.
“I like like you,” I said one night while we were on my couch watching “Curb Your Enthusiasm.” My voice was shaking and also muffled, because I was hiding under a blanket.
This confession was one of the scariest things I’ve ever done, and I’ve done a lot of scary things — gotten sober, did stand-up in front of my entire family (don’t recommend this), come out as queer to a bunch of conservative Midwesterners on a study-abroad trip (one girl took a selfie with me and sent it to her mom with the note, “I met a bisexual and she’s really nice!”). But I learned in recovery that sometimes when something is scary, we are meant to run toward it rather than away from it. That night, Spencer pulled the blanket off my head and told me she felt the same.
This beautiful, confident “Curb”-loving doctor did have one red flag. She lived in Santa Monica, at the end of a six-mile stretch on the 10 Freeway. On side streets, getting from my apartment to hers could take up to an hour or longer in traffic. After a few months, we were seeing each other so often that the commute had become unmanageable.
Also unmanageable were my feelings. One night, about four months into our relationship, I told two close friends that I loved Spencer but was scared to tell her. The absence of these words had become a weight between us, triggering insecurities and petty fights. My friends urged me to tell her and thought I should do it that night (we’d been watching “Yellowjackets” and were feeling a little dramatic). I felt emboldened. But it was 10 p.m. on a work night and it would take 45 minutes to get to her house by my usual route.
I called her. “I’m coming over!” I said. Twenty minutes later, I was merging onto the 10. I drove too slowly, got off at the wrong exit and gripped the steering wheel so hard my fingers went numb. But when I got to Spencer’s apartment, I was bolstered by adrenaline and the rush of having conquered my fear. I had driven on the 10 — at night. I could survive anything. I told her I loved her. She said it back. I didn’t even hide under a blanket.
This was two years ago. Since then, I’ve driven on the 10 hundreds of times between Spencer’s apartment and mine. Now we live together, which significantly cuts down on the commute. I still prefer a side street, but I’ll take the freeway if I have to. Since mastering the 10, I’ve also braved the 5 Freeway, the 101 Freeway and even the 405 Freeway. Spencer always tells me I’m “brave.” I’m starting to believe her.
The author is an L.A.-based writer, editor and comedian and co-host of the podcast “All My Only Children.” She’s on Instagram and Threads: @maywilkerson
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.
Lifestyle
Hey Babe, Let’s Meet for Steak, Crayons and … Jazz?

“Backgammon is the cruelest game — so much of it is based on luck,” said Joe Urso, who was one tournament away from earning his grandmaster title, but down a few points in his match on a recent Wednesday night last month.
Mr. Urso, 41, and several other backgammon enthusiasts were meeting for the Clinton Hill Backgammon Club’s weekly game at Funny Bar, a new jazz-bar-restaurant on the Lower East Side of Manhattan. The backgammon club typically convenes in the restaurant’s conversation pit, in the center of the space that once housed a mechanical bull.
Before Funny Bar, the Essex Street venue lived several lives. It was once a Western-themed barbecue joint, then a hip-hop brunch spot. And for 40-years, it housed Schmulka Bernstein’s, New York City’s first kosher Chinese restaurant. The current owners, Tom Moore and Billy Jones, have worked some relics from these disparate incarnations into Funny Bar’s design. But they made sure the new version had no distinguishable theme.
“A lot of restaurants and clubs in New York present these very complete ideas to the customer,” said Mr. Moore, 30, whose parents met working in Chicago’s hotel industry. In the past couple of years, the rise of the overly designed clubstaurant has homogenized Lower Manhattan’s nightlife aesthetics: wood treated to look patinated, shelves packed with tchotchkes and vintage photos framed to imply a storied, local status that has yet to be earned.
The cavernous 2,800-square-foot interior of Funny Bar, designed by Safwat Riad, reflects a cheeky, Lynchian sensibility, with kitschy glass bricks, a slick grand piano and just-between-us lighting. The dining room’s walls are lined with purposely empty shelves. Crayons and paper tablecloths add a playful vibe to the massive, low-slung leather booths. Servers with face tattoos wear spotless, buttoned-up uniforms, adding to the sense of dissonance and mischief. The overall effect may make diners feel like children who stole their parents credit cards and went out for martinis.
“There are a lot of couples mindlessly doodling each other, but I really like when there are businessmen eating together and they start using the crayons to do math on the tables,” said Ava Schwartz, Funny Bar’s director, who, alongside Mr. Moore, can be spotted most nights greeting regulars and running steak frites. Funny Bar goes through about 600 crayons a week.
The owners did not bother with a drink menu. “We’re not really going for special,” said Funny Bar’s head chef, Raphael Wolf. The restaurant’s menu is appropriately simple and crowd-pleasing: salad, steak frites and a brownie sundae. Usually, there’s an off-menu vegetable dish. Of the decision to offer only steak, Mr. Moore said he did not want diners to feel bloated or like their breath smelled; he wanted to keep the night sexy. “And nothing is sexier than steak,” he added.
Mr. Moore and Mr. Jones opened the more popular Nightclub 101 just a few blocks away, but they have been reluctant to over-publicize Funny Bar, preferring to let it find patrons slowly. The location — tucked away on the side of Essex Street that most New Yorkers avoid — makes it that much more “if you know, you know.” The bar does not promote scheduled musical performances, and it has fewer than 3,000 Instagram followers.
Despite being coy about seeking attention, Funny Bar has found an eclectic fan base. On any given night, the crowd includes young fashion hounds, baby stockbrokers, middle-aged couples on dates and musicians like King Princess and the Dare, who are connected to Mr. Moore and Mr. Jones through their third venue, Baby’s All Right in Brooklyn.
Over the course of a typical night, tables and parties tend to merge, with guests eventually spilling into the conversation pit, mirroring the bustle and spontaneity of live jazz — the only music you’ll ever hear in Funny Bar. (So much is its commitment to the genre, that it was even worked into the restaurant’s phone number: 212-516-JAZZ.)
Some patrons have compared the social swirl of Funny Bar to that of the bars portrayed in the first season of Sex and the City — a comparison that proves itself every time someone writes their phone number down in crayon, tears it from its sheet and hands it off to a cute stranger.
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