Lifestyle
L.A. Marathon won’t give trans runners prize money. This past champion wants to change the game
Cal Calamia remembers stepping into his power at the Los Angeles Marathon two years ago.
It was a cool and especially windy March morning, and Calamia had run through a succession of L.A. neighborhoods — Chinatown, Echo Park, Silver Lake and Los Feliz, to start. He cruised by some of his favorite L.A. landmarks, including the Hollywood Walk of Fame, which he’d romanticized as a glittering oasis while growing up in the Midwest in a conservative Republican family. Here in California, “a sanctuary for transgender people” like him, and ensconced by the cheering L.A. Marathon crowds, he felt not only safe, but celebrated.
During one section of the race in Westwood, with about eight miles left to the finish line, energetic spectators on Santa Monica Boulevard huddled onto a concrete median shrieking and waving signs — one read, “You’re running better than our government,” he recalls. Toddlers sat perched on adults’ shoulders, seniors wielded cardboard posters. He says the crush of rippling flags is an image he’ll cherish forever — more pink-blue-and-white-striped trans flags than he’d ever seen in one place.
“Being in this particular race environment knowing there was genuine love and support for me, for people like me, just felt like being held,” Calamia says. “It was really beautiful.”
Calamia is determined to best his personal record — 2:41:59 from the Berlin Marathon in 2024 — at Sunday’s LA Marathon.
(Josh Edelson / For The Times)
Calamia would go on to win first place in the L.A. Marathon’s nonbinary division that year, clocking in at 2:53:02 — one of myriad victories in his career. Based in San Francisco, Calamia (whose pronouns are they/he and who asked that both be used in this article) is the only nonbinary marathoner ever to podium (finish in a top-three spot) in six of the Abbott World Marathon Majors. They’re also a leading transgender advocate, helping to educate marathon organizers around the world about equity and inclusion — and a poet, a collection of poems inspired by their gender transition, published in 2021.
Calamia hasn’t participated in the L.A. Marathon since that memorable 2024 race, but they hope to reclaim the top spot in the nonbinary division on Sunday. The race, from Dodger Stadium to Century City, is 26.2 miles long; but the fight for equity for trans and nonbinary marathoners across the sport, Calamia says, is a far longer road.
“It’s changing, but we’re not there yet. So, so much more needs to be done in the realm of education,” they say.
Runners start the 39th Los Angeles Marathon at Dodger Stadium on March 17, 2024.
(Jason Armond / Los Angeles Times)
Calamia is competing in a moment when transgender athletes are a topic of national political debate.
The Trump administration has been trying to ban transgender athletes from participating in youth sports competitions throughout the country, a battle that is playing out in court. The Supreme Court is considering whether to uphold state bans on transgender athletes competing in girls’ sports in Idaho and West Virginia. In 2025 alone, hundreds of bills were introduced at the state and federal levels to restrict the rights of transgender people — not only targeting their participation in sports, but their medical care and their identity documents.
Within the marathoning world, the introduction of a nonbinary division is relatively new and has been a quickly evolving issue. Trans and nonbinary marathoners, historically, have run in either the category in which they were assigned at birth — in which they didn’t identify personally — or, depending on the marathon, in the category aligned with their self-identified gender. In the latter case, some might be at a disadvantage, others an advantage (trans men, for example, might be physically smaller and weaker, with regard to muscular strength and lung capacity, than the cis men they’re competing against.
Trans marathoner Cal Calamia started running in fifth grade. “It was the first time I felt like I had autonomy over my body,” they say.
(Josh Edelson / For The Times)
The Los Angeles and New York City marathons were the first to introduce nonbinary divisions in 2021. Now all seven Abbott World Marathon Majors — in New York, Boston, Chicago, Tokyo, Berlin, London and Sydney — include a nonbinary division for mass participation runners.
But non-binary runners typically aren’t awarded prize money because there isn’t a category for them in elite divisions (in which where prize money is typically awarded) as there is for cis runners. (The New York City Marathon does offer prize money to nonbinary runners within its New York Road Runners-member general division, as do some local races.)
One reason: Most marathons take their cues from the Monaco-based World Athletics, the international governing body for the World Marathon Majors as well as large-scale road races such as the L.A. Marathon. And in the elite field, “our categorisation of either male or female for entry purposes and results are based on an athlete’s biological sex,” spokesperson Maggie Durand said in an email, adding that the dispersion of prize money is ultimately up to the races.
Another issue is that the nonbinary category is smaller and therefore less competitive, the L.A. Marathon says. In 2021, zero nonbinary runners crossed the finish line at the L.A. Marathon; 38 runners did in 2024 and 267 did in 2025. This year, the marathon is expecting 150 participants in the category. That represents just 0.54% of registration for the race, which has about 27,000 participants in all. (A portion of registration fees goes toward prize money.)
While the L.A. Marathon doesn’t have a professional nonbinary division with prize money, it does award the top three nonbinary finishers a trophy or a medal as well as inclusion in post-race publicity.
“World Athletics and USA Track & Field set our industry standards and we look to their regulations,” L.A. Marathon spokesperson Meg Treat said. “But at the end of the day, the category is small. And while some of the runners will clock fast times, many of them are going to be finishing alongside our everyday athletes as part of the general field. We’re watching how the competitiveness of that category develops and we’ll evaluate potential changes.”
Calamia, calls it a “chicken and egg issue.” “There’s a lot of, ‘Oh, it’s not competitive enough and too small,’ but how could it be competitive enough if it’s not recognized?”
Calamia, who was assigned female at birth, grew up in a suburb of Chicago in a “loud, conservative household,” as he describes it, the second oldest of four siblings. “There were a lot of people with strong opinions,” he says, and not much tolerance for “anything different,” which he felt inside. He started running cross-country in fifth grade and it brought him a sense of freedom — from the dissonance inside his mind as well as from the house.
Calamia recently became a vegan. “There’s an intersection between transness and veganism,” they say.
(Josh Edelson / For The Times)
“It was the first time I felt like I had autonomy over my body,” he says.
They moved to San Francisco in 2018 and began their gender transition, having top surgery in 2019. Later that year while training, they ran shirtless through the streets of San Francisco as a nonbinary transmasculine athlete and felt more themself than ever, embracing “the in-between.”
“Early in my transition, my goal was, ‘I don’t want to be perceived as a woman. But I’m not quite like these cisgender men, either.’ It took me a lot of work to understand how beautiful occupying that liminal space is instead. Having the nonbinary division in marathons is an extension of that.”
His family has “come a long way,” but relations remain strained, he says. “They’re not just, ‘We voted for Trump;’ they’re Blue Lives Matter flag up in the yard and Trump bumper stickers and ‘Don’t Tread on Me’ flag and tattoos,” he says. “To try to have a relationship with them is challenging. Because they’re actively voting against not just my rights, but human rights.”
Calamia backed into an activism career when in 2022 he led a campaign pressuring San Francisco’s Bay to Breakers race to let nonbinary participants win awards. (The race was letting the runners register, but not place.) Calamia won that battle — and then took first place in the race days later.
“I was like: ‘Wow, look what we just did. What else can we do?’” he says.
The answer: The San Francisco, Chicago and Boston marathons all introduced nonbinary categories within a year, partly due to Calamia’s efforts. Calamia, would become the San Francisco Marathon’s inaugural nonbinary division winner as well.
Post-victory elation, however, was short-lived: In mid-2023, Calamia had to tirelessly defend their right to use testosterone, which they’d been taking since 2019 as part of their gender transition, to the U.S. Anti-Doping Agency. It ultimately granted them a 10-year therapeutic use exemption so they can continue to compete.
Early in my transition, my goal was, ‘I don’t want to be perceived as a woman. But I’m not quite like these cisgender men, either.’ It took me a lot of work to understand how beautiful occupying that liminal space is instead. Having the nonbinary division in marathons is an extension of that.
— Cal Calamia
Now the four pillars of Calamia’s career — marathoning, activism/education, writing and community building (they founded a nonbinary run club that meets weekly in the Bay Area) — are working together with the gusto of an elite athlete. But Calamia feels added pressure to win races because it amplifies their advocacy voice.
“None of it works if the sports performance isn’t up to par, because then no one is paying attention,” they say. “But also, I’m putting pressure on myself to try and beat all the women or compete with at least some of the fastest men. Because I don’t want to feel like a charity entry. I’m a fast runner. I want to be recognized as a strong athlete — not as someone who got the chance to be here because ‘we’re so inclusive.’”
Calamia says he feels a sense of freedom and calm when running. “It’s a flow state.”
(Josh Edelson / For The Times)
With the L.A. Marathon just days away, Calamia is feeling positive about the race. His personal record is 2:41:59 from the Berlin Marathon in 2024 and he hopes to best that. Toward that end, Calamia will do what he always does the day before a race: visit a spa for contrast therapy (between a hot tub and cold plunge) while visualizing every stage of the imminent marathon, its hurdles and eventual successes. On race morning, he’ll eat his usual: a bagel with peanut butter and a banana.
Next up: Calamia will compete in the open division of the Athletic Brewing Ironman 70.3 Oceanside on March 28, with two other trans athletes as his teammates, Schuyler Bailar and Chella Man. And after competing in the Sydney Marathon this August, he’ll run a 100-mile ultramarathon in Arizona in October.
Marathoning, says Abbott World Marathon Majors Chief Operating Officer Danny Coyle, is “one of the most inclusive movements” in sports globally. “If you’re lucky enough to stand on the side of the street on any given race day in the WMM — and some of the big races like Los Angeles — it’s just this melting pot and stream of humanity of all shapes and sizes, all creeds and colors, with one shared objective: to get to the finish line.”
Calamia, however, says there are still miles ahead until the sport is truly inclusive for trans and nonbinary runners.
“But I love the sport,” they say. “The fact that it’s still evolving is a beautiful thing and I’ve learned so much about myself, and grown so much, because of my relationship with running.”
The L.A. Marathon, they add, plays a central role in the sport’s own evolution.
“L.A. is this place where all these different people from all over the place come together to pursue their dreams, which is inspiring,” they say. “Having nonbinary representation on the course, as well as support from spectators, sets a precedent for other cities around the globe: that no one should have to choose between being who you are and doing what you love.”
Transgender athlete-activist-poet Calamia shows off a tattoo reading, “Eyes up. Look ahead.”
(Josh Edelson / For The Times)
Lifestyle
The Head-Turning Hats of the 2026 Kentucky Derby
Hats? The Kentucky Derby had a few.
In the hours leading up to America’s most famous horse race, spectators in Louisville engaged in the event’s other time-honored tradition (apart from day drinking): parading around Churchill Downs in attention-grabbing outfits.
But it wasn’t just hats — fascinators, fedoras, bowlers, boaters, flowers and feathers (so many feathers) — that caught the eye. There were equine-inflected accessories too: purses, patterns, jackets, brooches and at least one vest.
A wild ride, as always.
Lifestyle
Their love blossomed in the buzzy L.A. restaurant scene. So what was their wedding food?
It wasn’t love at first anything for Anna Sonenshein when she met Niki Vahle while working at Son of a Gun in 2018. Rather, it started with a feud.
Sonenshein worked as a host, Vahle as a sous chef. She mostly ignored him.
“I was fed up with the kitchen thinking they were better than front-of-house,” she told me, on speakerphone, from the home they now share. “It’s such a common thing in restaurants, and I hate it.”
But, like all good star-crossed stories, the pair fell in love.
“And I beat all that out of Niki,” Sonenshein said.
“She did,” he called from a distance, as he wrangled one of their two dogs, Chicken. “We don’t tolerate any of that now in our restaurant.”
The restaurant in question is the Michelin Guide-inducted Little Fish, which the couple started as a pop-up out of their kitchen window in 2020 and has expanded to two locations: Echo Park and Melrose Hill.
With Little Fish, Sonenshein and Vahle unapologetically mix business, pleasure, family, friendship and food.
Friend of the couple, Hannah Ziskin of Quarter Sheets, made multiple cakes, including a “chef-y” combination of rhubarb with pistachio chiffon and mascarpone custard infused with orange peel, and her classic olive oil chiffon with fresh passionfruit and bay leaf-infused custard. The dog figurine, right, is modeled after the couple’s pets, Chicken and Hank.
(Madelyn Deutch)
It makes sense, then, that their biggest partnership to date — an April 18 wedding — would be a food-first, ceremony-second affair. About 120 guests sardined into the modest backyard of Sonenshein’s Santa Monica childhood home, with a veritable who’s who of the L.A. restaurant scene doing double duty as attendees and vendors.
As the teams behind Mariscos Jaliscos and El Ruso set up trucks out front, Aaron Lindell and Hannah Ziskin of Quarter Sheets conversation-hopped, and Kae Whalen, the L.A. darling wine Substacker (who also runs Little Fish’s wine program), snaked through the crowd with her pint-sized pomeranian under one arm.
In this dark era for L.A. restaurants, where economic fears, fires and ICE have led to countless closures, Sonenshein and Vahle have made a point of building community among restaurant workers and collaborators.
Niki Vahle and Anna Sonenshein, owners of Little Fish, embrace during their backyard wedding.
(Madelyn Deutch)
“When we were starting our businesses, none of us had any knowledge of the back-end stuff,” Ziskin told me. “We figured it out together.”
She and Lindell turned their Quarter Sheets pop-up into a brick-and-mortar in 2022. Little Fish followed the same trajectory a few months later.
“Niki and Anna will answer any question I have,” Ziskin said. “We talk business, money. It’s so rare to have that: friends in the same position who deeply understand what you do.”
Vahle and Sonenshein refer to their friends who also started food businesses during the pandemic as “our class.”
“We’re peers, not competition,” Vahle said. “We share notes; we share everything.”
In January 2025, when the Palisades and Eaton fires ripped through the city, these friends were the ones Sonenshein and Vahle called first as they created a network of almost 200 restaurants to source, cook and deliver meals to displaced families and first responders.
Wedding guests enjoy the grazing table and cake. (Madelyn Deutch)
Catalina Flores, of Panhead LA, curated the abundant grazing table.
(Madelyn Deutch)
As the party waited for Sonenshein and Vahle to appear, guests sipped his and hers wine selections by Whalen: a Domaine Derain “Landre” 2023 for Vahle (“A Niki wine reminds us that beauty, precision and transcendence are possible”), and a Le Mazel “Couvée Paulou” 2024 for Sonenshein (“An Anna wine is often fruity, vibrant, easy to adore and adores easily”).
Meanwhile, like any good father of the bride, Raphe Sonenshein held court at the grazing table, encouraging anyone in earshot to pile plates with charcuterie, taralli and gildas curated by Catalina Flores (Panhead LA) and Ryan Vesper (Gourmet Imports).
The mother of the bride, Phyllis Amaral, shepherded family members to a handful of front-row folding chairs. Everyone else would spend the night standing, balancing plates and, inevitably, spilling some wine.
“Very creative wedding,” said one friend of the family.
The low-key backyard wedding took place at the bride’s childhood home. Her sister, Julia Sonenshein, left, and mother, Phyllis Amaral, wore red.
(Madelyn Deutch)
The couple made their entrance — arm in arm — with Sonenshein in a tea-length, corseted gown and Vahle in a bespoke suit the shade of a Liguria olive.
During their vows, Sonenshein joked that marriage isn’t so scary when you already share six LLCs.
Then, they sealed their newest contract with a kiss.
The applause had barely subsided before a collective hunger took over.
Mariscos Jalisco served shrimp tacos, a nod to the couple’s own restaurant, Little Fish.
(Madelyn Deutch)
Mariscos Jalisco sent out trays of shrimp tacos — a nod to the couple’s seafood origin story — but guests still beelined for the truck, forming a line down the block.
Next door at El Ruso, owner Walter Soto chopped carne asada while his wife, Julia, took orders: two chile colorado; three birria; no onions, please. Their preteen daughter, Suri, played in the front seat of the truck.
“For us, it was something very special to know that we were going to serve food on such a special day to someone so special to us,” Soto said. “I remember seeing Niki several times eating at our food truck during the difficult times of ICE raids. [Then] we had to close our truck for three or four months. Anna and Niki came to my house with a check to help us endure that really bad time. That’s how we met them.”
El Ruso tacos rounded out the menu. Owner Walter Soto said he was honored to serve food at the wedding after the bride and groom supported his business during the ICE raids that dampened his sales.
(Madelyn Deutch)
As for the cake, try two. Both by Ziskin.
“I would have been offended if they hadn’t asked me,” she said.
The first was a Quarter Sheets menu classic: olive oil chiffon with fresh passionfruit and bay leaf-infused custard. Ziskin also created what she calls a “chef-y” combination: rhubarb with pistachio chiffon and mascarpone custard infused with orange peel.
Bride Anna Sonenshein mingles with guests near the El Ruso taco truck.
(Madelyn Deutch)
Before moving the afterparty to Santa Monica’s Not No Bar (co-owner Conner Mitchell is also one of Little Fish’s fishermen), the music cut briefly for speeches.
Julia Sonenshein, the bride’s sister and a sometimes food writer, admitted that she couldn’t separate their love story from a shared love of cooking.
“For these two, the idea that anyone would go without food, whether it’s friends who’ve stopped by for a coffee table meal or families who lost their kitchens in wildfires, is an unconscionable possibility they won’t accept,” she said. “And so they find a way to make sure all of us are fed.”
And what about Sonenshein and Vahle — did someone remind them to eat?
Vahle didn’t hesitate. “How could we forget?”
Lifestyle
How 7 Looks for ‘The Devil Wears Prada 2’ Came Together
When Molly Rogers got the call to work on the costumes for “The Devil Wears Prada,” she could sense right away that she was involved in something special.
“I knew people were going to go nuts for it — I’d never turned the pages of a script like that before,” said Rogers, who worked on the 2006 film as the associate costume designer under the tutelage of her longtime mentor, the “Sex and the City” costume designer Patricia Field.
But even Rogers couldn’t have predicted just how big the film would become. In the 20 years since its release, the comedy, about the imperious fashion magazine editor Miranda Priestly (Meryl Streep) and her ill-suited assistant, Andy (Anne Hathaway), has become part of the cultural lexicon, thanks to memes and memorable lines like Miranda’s contemptuous catchphrase, “That’s all.”
So when Field, who was busy styling the rom-com series “Emily in Paris,” asked Rogers to handle the costumes for the film sequel — this time as lead designer — she jumped at the opportunity.
Some designers might have been intimidated. Hathaway has called designing the costumes for a “Devil Wears Prada” film a “heroic act,” explaining in a recent Times article: “It’s not just one character arc, it’s so, so many. Fashion is a language in the film; it’s another character.”
For Rogers, though, the experience was more nostalgic than nerve-racking.
“It was like coming back to summer camp,” she said of the production.
On a recent morning at the Four Seasons Hotel in Lower Manhattan, Rogers went over sketches for six pivotal costumes from “The Devil Wears Prada 2” — and one that didn’t make the cut.
Vision in Red
At Rogers’s first meeting with Streep, Miranda’s gala look came up, and both had the same immediate thought: “It has to be red.”
“And she’s the one who said, ‘Let’s do a sleeve on one arm and bare on the other,’” Rogers said of Miranda’s asymmetrical gown, which is a custom-made Balenciaga in red silk super taffeta. “It’s so fabulous.”
The dress, which features a tilted collar and a thin matching belt, was built in Paris, with a team from Balenciaga flying to New York City twice to fit Streep for it.
At one point the actress suggested trying a hat to top off the look — possibly a nod to horns — but Rogers said she knew it was “gilding the lily.”
“It was her white hair alone that the red gown should frame,” she said.
Party in the Back
As Runway magazine’s new features editor, Andy is back in the same orbit as her frenemy and fellow ex-assistant, Emily Charlton (Emily Blunt), who’s now an executive at Christian Dior. To solve a crisis at the magazine, Andy agrees to an expansive feature on the company, whose advertising dollars Runway needs.
For Andy’s interview look, Rogers opted for a black button-down Jean Paul Gaultier pinstriped vest, paired with matching slacks, a pearl necklace — and nothing underneath.
“I was constantly trying to balance found things with things that she could have afforded and that she would wear as a professional reporter,” Rogers said.
There’s also a surprise when Andy turns around: The vest has an all-white silk back.
“I loved that,” Rogers said.
Caped Betrayer
For a scene involving a backstabbing Emily, Rogers went with a sequined Dior houndstooth power suit — with a Zimmermann leather capelet.
“I tried to find Dior pieces that have a little edge to them,” Rogers said of the black-and-white wool number from the spring 2026 collection.
Emily’s style in the sequel, she said, was an extension of the first: The character still has a mix-and-match aesthetic, pairing, for instance, a white Dior button-down with a Wiederhoeft corset and Gaultier black-and-white pinstriped pants.
“We didn’t have enough outfits for her,” Rogers said. “I think she changed 16 times.”
Editor Chic
One lesson Rogers has learned in more than 40 years working with Field, she said, is that “you cannot force an actor to wear anything.”
“You can have your heart set on a gown that you want in a scene and think it’s the perfect color, but you’re not the one in it,” she said. “Pat’s fittings, and mine as well, are very collaborative: Do you like what I brought into the room? How does it feel on you?”
So when she came across this homey, tasseled Dries Van Noten jacket, she crossed her fingers that Streep would dig it.
Streep did.
“She thought it was a great piece for the right scene,” Rogers said. “I thought it had enough oomph to it to still be in the office, and it looked like ‘editor.’ It made me think of Diana Vreeland,” once the editor in chief of Vogue.
Andy’s gala look inverts the movie’s through-line of sleeveless pieces layered atop button-ups and blouses: Here the base layer, a blouse from the Armani Privé fall 2024 couture collection, is sheer, tucked beneath a black silk velvet jumpsuit with pinstripe Swarovski crystal suspenders.
“It came down the runway without a blouse, and I was like, David’s never going to let me do that,” Rogers said, referring to the director, David Frankel. “Anne Hathaway at the dinner table with no blouse on — how cool would that be? But they made us a beautiful sheer blouse.”
Another hat that appeared in Rogers’s initial sketch bit the dust: a velvet Armani beret with jet-black glass stones.
“I am a hat fighter,” Rogers said. “I’ve gone through big hat fights, with Sarah Jessica Parker and I fighting for hats on TV shows. They always don’t want to light them, or they cast shadows, blah blah blah, and it always unfinishes an outfit.”
Though the beret for Andy was fabricated, she said, “sure enough, they killed it.”
Human Disco Ball
When Miranda saunters through the Galleria Vittorio Emanuele II, Milan’s stunning historic shopping arcade, the lights shimmer off the colored crystals and black sequins on her Armani overcoat, turning her into a human disco ball.
“When I read the script, I was like, ‘That needs to dazzle,’” Rogers said of the statement piece from Giorgio Armani’s Privé spring 2025 couture collection, which she layered over a tie-neck Lurex Oud blouse and black trousers.
It was a choice she initially had some trepidation about.
“I was afraid of the pussy-bow blouse on Miranda Priestly,” she said. “Because that feels soft to me. But it was such a cacophony of colors and textures, and I felt like it was strong enough.”
Miranda’s black cat-eye Prada glasses are striking, of course, but Rogers said the boldest accessory was her side-swept white hair.
“I think that there was great resistance to that,” Rogers said. “People didn’t understand that.”
The look was drawn from that of the fashion editor Polly Mellen and the model Carmen Dell’Orefice.
“Meryl and Pat insisted on it,” Rogers said.
Power Gloves
Emily’s gala dress — a strapless Dior gown with a nude tulle and black lace corset top, matching opera gloves and a slinky black satin skirt with a double side bow — was Rogers’s favorite look from the film. Alas, it ended up on the cutting-room floor.
Still, she said, she loved getting the chance to bring an edge to a very un-Emily-like shape.
“When I think of Dior and bows, I think of Charlotte,” Rogers said of the preppy “Sex and the City” character. “So to take a Dior bow and make it look — there’s a bit of a goth idea there. And I thought that was really appropriate for her character.”
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