Lifestyle
Our favorite looks from “L.A. Vie en Rose” at Soho Warehouse. Collectively, we dripped
The dress code caused mass chaos in the group chats: “Dripping in romance,” taking inspiration from the night’s theme, “L.A. Vie en Rose.” Any good prompt is both esoteric and hyper-specific enough to let your imagination run wild (and trigger an existential crisis). But mostly, we used it as a framework for the kind of night we thought L.A. deserved: a sexy one — where we dressed up in patent leather boots, wore red lipstick and crushed rose petals under our feet on the dance floor.
The party, hosted by Soho Warehouse and sponsored by 400 Conejos, felt like the only fitting way to celebrate our biggest issue of the year (our biggest issue ever, actually): Image Makers, a love letter to the creative directors, photographers, designers and artists who are shaping the look and feel of the city with their work, day in and day out.
The event featured a photo exhibition highlighting our subjects: leather designer Zana Bayne; latex designer Mariano Cortez; global girl group Katseye and their fashion fairy godfather Humberto Leon; stylist and Saint Helen’s House founder Zerina Akers; photographer Emanuel Hahn; costume designer Natasha Newman-Thomas; stylist Ann-Marie Hoang; Peruvian Parisian creative director Claudia Rivera; Parisian fashion designer Vincent Frederic-Colombo; creative director and photographer Eric Solis in collaboration with Planeta and Wavey; and leather goods craftsman Guillermo Cuevas. Earlier that night, the Image Makers gathered for an intimate dinner on the Soho Warehouse roof, where they received gift bags curated by fashion director at large Keyla Marquez. Each bag included a pair of Nike Shox contributed by Nike L.A., a custom keychain with charms personal to each Image Maker and a bandanna featuring every Image logo ever commissioned, created by Image’s design director Jessica de Jesus.
Party guests danced to the sounds of NoNo, Mia Carucci and Bianca Lexis late into the night and posed in a custom photo booth inspired by the party’s theme, created by production designer Zoe-Zoe (the artist who created our lettering for the Image Makers issue) and floral designer Gray Hong. Collectively, we dripped.
Curator Anita Herrera (left), Hoza Rodriguez, designer and co-founder of Planeta, and 2024 Image Maker.
Artist Barrington Darius.
Artists Alfonso Gonzalez Jr. (left) and Isaac Psalm Escoto a.k.a. Sickid.
Keyla Marquez, Image fashion director at large.
Eric Kim, co-founder of Firmé Atelier and a 2023 Image Maker.
From left: Michael Anthony Hall, Blessing Greer-Mathurin, Shanelle Infante, Adigun Atanda and Meka Boyle.
From left to right: Image contributing writer Astrid Kayembe, Cierra Black, Angela Choe, Ana Cruz and Qurissy Lopez.
Jaime Muñoz and Rochelle Martin.
Guests make their way through “Image Making: A Collective Art,“ a special gallery show featuring photography from the “Image Makers” issue.
From right: Pechuga Vintage founder Johnny Valencia and Priscilla Yael.
A guest views a photograph by Cody Critcheloe of costume designer Natasha Newman-Thomas.
Shirt detail courtesy of Polio Brothers.
Editor Jules Wood (left) and BJ Panda Bear, fashion director of Reserved magazine.
Leeann Huang (second from right), designer and 2023 Image Maker.
Poet and cultural organizer Sonia Guiñansaca (left) and archivist Lylliam Posadas.
Yubo Dong, cofounder of ofstudio and Image contributing photographer.
Image contributing photographer Brandon Kaipo Moningka and friends.
A guest flips through “American Fever,” a photo essay by Emanuel Hahn featured on 1 of 4 covers.
VTProDesign creative director Mike Lee signs the gallery guest book.
Image contributing photographers JJ Geiger (left) and Sam Ramirez.
Humberto Leon, a 2024 Image Maker.
(Calvin B. Alagot / Los Angeles Times)
Anthony Brown and Image contributing artist, London James a.k.a Porcelain Sneakerhead.
Photographer Eric Solis and designer Hoza Rodriguez with friends.
American Artist, Image contributing artist.
From left: Reanna Cruz, Julia Carmel and Troy Curtis Zaretsky-Kreiner.
Image’s rooftop dinner at Soho Warehouse.
(Calvin B. Alagot / Los Angeles Times)
Costume designer Natasha Newman-Thomas (left) and Dunrite Leatherworks designer Guillermo Cuevas.
Image staff writer Julissa James.
Featured stylists Zerina Akers (left) and Ann-Marie Hoang.
Gotha Shakira, digital director and Image contributing writer (left), and Ann-Marie Hoang, featured stylist.
(Julissa James / Los Angeles Times)
Aria Davis, Nike Catalyst Brand Marketing Manager (left), and Maria Maea, artist and Image contributing writer.
Eric Solis, creative director, photographer, and 2024 Image Maker.
Keyla Marquez, Image fashion director at large (left) and Julissa James, Image staff writer.
From left to right: Humberto Leon, Elisa Wouk Almino, Image editorial director, and Jessica de Jesus, Image design director.
Dinner guests applauding Image’s editorial director Elisa Wouk Almino.
Dinner party photography by Image photo editor Calvin B. Alagot.
Musician, DJ and Image-featured artist Mia Carucci.
Image photo editor Calvin B. Alagot.
Model Lex Orozco-cabral (right).
Image contributing photographers Brittany Bravo (left) and Emanuel Hahn (center) with Leah Sarnoff.
“L.A. Vie en Rose” DJ, NoNo
Mario Ayala and Nathaniel Santos.
Stylist and costume designer Sailor D. Gonzales (left) and Rebecca Marquez.
Geo Solis, Image contributing photographer.
Paul Yem, Image contributing photographer (left) and Kate Kuo, Image Director of Photography 2021–2023.
(Calvin B. Alagot / Los Angeles Times)
Image contributing producer Imani Lindsey of Mere Studios (left) and photographer Richard Brooks.
(Calvin B. Alagot / Los Angeles Times)
Mia Carucci, musician and DJ (left), Keyla Marquez, Image fashion director at large (center) Celina Rodriguez, creative director.
(Julissa James / Los Angeles Times)
Maria Maea and Zerina Akers.
Artist Sebastian Hernandez and Shirley Sosa.
From left to right: Gray Hong, floral designer and founder of Moon Jar Design, Zoe-Zoe, production designer and Image contributing artist, and Jessica de Jesus, Image design director.
(Calvin B. Alagot / Los Angeles Times)
Image contributing artist Jaklin M. Romine.
(Julissa James / Los Angeles Times)
(Julissa James / Los Angeles Times)
Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.
Ben Margot/AP
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Ben Margot/AP
When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.
Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.
Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.
He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.
In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.
We reached out to Stanford University for comment and have not heard back.
Listen to the interview by clicking play on the blue box above.
The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.
Kirsty Wigglesworth/AP
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Kirsty Wigglesworth/AP
Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.
As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.
“Love” comes from the heart — or an egg?
It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.
But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.
“By and large, the original system has held up almost entirely,” Flink said.
The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.
Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.
The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.
It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.
“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.
To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.
Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.
But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.
“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.
“Love” probably isn’t going anywhere
Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.
“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”
There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.
Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.
But “love” still prevails.
“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”
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