Lifestyle
The L.A. coffee shop is for wearing Dries Van Noten head to toe
The ritual of meeting up and hanging out at a coffee shop in L.A. is a showcase of style filled with a subtle site-specific tension. Don’t you see it? Comfort battles formality fighting to break free. Hiding out chafes against being perceived. In the end, we make ourselves at home at all costs — and pull a look while doing it.
It’s the morning after a night out. Two friends meet up at Chainsaw in Melrose Hill, the cafe with the flan lattes, crispy arepas and sorbet-colored wall everybody and their mom has been talking about.
Miraculously, the line of people that usually snakes down Melrose yearning for a slice of chef Karla Subero Pittol’s passion lime fruit icebox pie is nonexistent today. Thank God, because the party was sick last night — the DJ mixed Nelly Furtado’s “Promiscuous” into Peaches’ “F— the Pain Away” and the walls were sweating — so making it to the cafe’s front door alone is like wading through viscous, knee-high water. Senses dull and blunt in that special way where it feels like your brain is wearing a weighted vest. The sun, an oppressor. Caffeine needed via IV drip.
The mood: “Don’t look at me,” as they look around furtively, still waking up. “But wait, do. I’m wearing the new Dries Van Noten from head to toe.”
Daniel, left, wears Dries Van Noten mac, henley, pants, oxford shoes, necklace and socks. Sirena wears Dries Van Noten blouse, micro shorts, sneakers, shell charm necklace, cuff and bag and Los Angeles Apparel socks.
If a fit is fire and no one is around to see it, does it make a sound? A certain kind of L.A. coffee shop is (blessedly) one of the few everyday runways we have, followed up by the Los Feliz post office and the Alvarado Car Wash in Echo Park. We come to a coffee shop like Chainsaw for strawberry matchas the color of emeralds and rubies and crackling papas fritas that come with a tamarind barbecue sauce so good it may as well be categorized as a Schedule 1. But we stay for something else.
There is a game we play at the L.A. coffee shop. We’re all in on it — the deniers especially. It can best be summed up by that mood: “Don’t look at me. But wait, do.” Do. Do. Do. Do. We go to a coffee shop to see each other, to be seen. And we pretend we’re not doing it. How cute. Yes, I’m peering at you from behind my hoodie and my sunglasses but the hoodie is a niche L.A. brand and the glasses are vintage designer. I wore them just for you. One time I was sitting at what is to me amazing and to some an insufferable coffee shop in the Arts District where a regular was wearing a headpiece made entirely of plastic sunglasses that covered every inch of his face — at least a foot long in all directions — jangling with every movement he made. Respect, I thought.
Dries Van Noten’s spring/summer 2026 collection feels so right in a place like this. The women’s show, titled “Wavelength,” is about “balancing hard and soft, stiff and fluid, casual and refined, simple and complex,” writes designer Julian Klausner in the show notes. While for the men’s show, titled “A Perfect Day,” Klausner contextualizes: “A man in love, on a stroll at the beach at dawn, after a party. Shirt unbuttoned, sleeves rolled up, the silhouette takes on a new life. I asked myself: What is formal? What is casual? How do these feel?” What is formal or casual? How do you balance hard and soft? The L.A. coffee shop is a container for this spectrum. A dynamic that works because of the tension. A master class in this beautiful dance. There is no more fitting place to wear the SS26 Dries beige tuxedo jacket with heather gray capri sweats and pink satin boxing boots, no better audience for the floor-length striped sheer gown worn with satin sneakers — because even though no one will bat an eye, you trust that your contribution has been clocked and appreciated.
Daniel wears Dries Van Noten coat, shorts, sneakers and socks. Sirena wears Dries Van Noten jacket, micro shorts and sneakers.
Back at Chainsaw the friends drink their iced lattes, they eat their beautiful chocolate milk tres leches in a coupe. They’re revived — buzzing, even; at the glorious point in the caffeinated beverage where everything is beautiful, nothing hurts and at least one of them feels like a creative genius. The longer they stay, the more their style reveals itself. Before they were flexing in a secret way. Now they’re just flexing. Looking back at you looking at them, the contract understood. Doing it for the show. Wait, when did they change? How long have they been here? It doesn’t matter. They have all day. Time ceases to exist in a place like this.
Daniel wears Dries Van Noten tuxedo coat, pants, scarf, sneakers and necklace and Hanes tank top. Sirena wears Dries Van Noten jacket, micro shorts, sneakers and socks.
Creative direction Julissa James
Photography and video direction Alejandra Washington
Styling Keyla Marquez
Hair and makeup Jaime Diaz
Cinematographer Joshua D. Pankiw
1st AC Ruben Plascencia
Gaffer Luis Angel Herrera
Production Mere Studios
Styling assistant Ronben
Production assistant Benjamin Turner
Models Sirena Warren, Daniel Aguilera
Location Chainsaw
Special thanks Kevin Silva and Miguel Maldonado from Next Management
Not only is Betye Saar a living legend, but the prolific L.A. artist continues to add to her impressive oeuvre day by day.
She’s been creating powerful, thought-provoking artwork since the ’60s and her pieces have been shown at the Smithsonian, the Museum of Modern Art, the Art Institute of Chicago and LACMA, as well as museums and galleries around the world.
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
As her centennial birthday approaches this July, Saar shows no signs of slowing down. She still routinely creates art and continues to garner headlines and accolades. Last year, she was honored with the distinction of “Icon Artist” at the Art Basel Awards. During the upcoming Frieze Los Angeles art festival, which opens Feb. 26, she will be the subject of the photography installation “Betye Saar Altered Polaroids.” And this May, “Let’s Get It On: The Wearable Art of Betye Saar” will debut at Roberts Projects, the gallery that represents her. The exhibition will feature pieces from her early career as a costume and jewelry designer.
Though she’s skilled at painting and photography, she’s most widely known for assemblage, the art of juxtaposing miscellaneous items to form a single cohesive work. Her dioramas, sculptures and large-scale multimedia installations explore the legacy of American slavery, confront racial injustice and celebrate the strength and resiliency of African American women.
“I work with found objects that had another purpose before they came to my hands,” Saar says while seated at a patio table in her succulent-filled tiered garden. “The hardest part of it is going to a flea market, secondhand stores, an estate sale or even just going behind a store to see what people throw away.”
Over the years, she’s traveled by plane, train and automobile in search of usable materials. Meanwhile, admirers, colleagues and gallery workers have sent her curios from New Mexico, Tennessee, New England and beyond. Her daughters — artists Alison and Lezley, and writer Tracye, their mother’s studio director — also stay on the lookout for objects that might catch her eye.
“I’ve been doing this for a long time, so I have quite a collection,” she says.
Indeed, Saar’s multi-level home studio in Laurel Canyon is bursting with dozens of old empty picture frames, discarded window panes, wooden chests, antique chairs and vintage clocks. But there’s always room for more.
Her idea of a perfect Sunday includes foraging for new items (or old ones, as the case may be) to use in her daily art practice. And she’d return to her roots to do it.
“Pasadena is my hometown and I still have a few relatives that live there,” she says.
While visiting her old stomping grounds, she’d embark on a multi-stop shopping spree and wander through a longtime favorite San Gabriel Valley attraction (where her work just so happens to be on display).
This interview has been lightly edited and condensed for length and clarity.
10 a.m.: Search for hidden treasures
Pasadena Community College Flea Market is something that’s part of “the hunt.” Alison usually drives, sometimes Tracye. Some people are there early to get the deals; we’re not like that anymore. I like to look around and sometimes I find interesting fabrics, scarves to wear and strange-shaped succulents for my garden. I hardly ever find really good antiquing things there, because those are at antique stores and they’re usually pretty pricey. But I bought an old, rusty metal birdcage the seller said was from France. I like rusty stuff for my art. I also found an indigo blue kimono to wear at an art event later this year.
1 p.m.: Replenish with Thai food
I’d go down Fair Oaks Avenue — there’s some secondhand stores. Usually, it’s nothing I can use, but I still can’t say no. I have to go see for myself. Then, lunch at Saladang Garden. I always order chicken sate and the green papaya salad. Last time I went, we tried the Thai corn fritter which was really good and crispy. If food is too spicy, I can’t eat it. But somebody in my party would always have something spicy and I can have a spoonful to add to mine.
2:30 p.m.: More shopping
I am attracted to all the odd things at Gold Bug. Notepads and trinkets, curious vintage-y things with animals or interesting patterns, strange candles. Sometimes I surprise myself by buying something. They have a mixture of things that — whether it’s for the color, or the texture — I feel that I can recycle and fit into an art object that I’m making.
3:30 p.m.: Visit a childhood haunt (with a side of more shopping)
I really like the Huntington’s gardens. I remember the first time I went there was with my mother and a friend of hers, and we walked around. All the paths were dirt, you know, they hadn’t even gotten around to paving it yet. But I just fell in love with it. And I really like their gift shop.
6 p.m.: Head west for a culinary classic
If I go someplace to eat for lunch, I usually have leftovers to warm up. Nothing wrong with leftovers — if you liked it the first time, you’ll like it again! But if I had to go out to dinner, the Apple Pan. I would go there in the ’80s with my daughters. I like their sandwiches, or the hickory burger with cheese, and there’s good French fries.
8 p.m.: Tuck into some wind-down watching
Before bed, I like to watch the news because, otherwise, I don’t know what’s going on. I also like a lot of shows on PBS. “Finding Your Roots,” or dramas like “Sister Boniface Mysteries” and “Call the Midwife,” which has been going on forever!
Flames from the Palisades Fire reach the grounds of the Getty Villa Museum on the Pacific Coast Highway amid a powerful windstorm on January 8, 2025 in Los Angeles, California. The museum was forced to close for around six months, causing a major drop in annual visitorship numbers for 2025.
Apu Gomes/Getty Images
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Apu Gomes/Getty Images
U.S. museum attendance was beset by natural disasters and political instability in 2025, according to The Art Newspaper‘s annual survey of “the world’s 100 most visited art museums.”
The January 2025 wildfires in Los Angeles hit the Getty Villa particularly hard. Attendance dropped nearly 60% due to the institution being closed for around half the year in response to damage caused by The Palisades fire. (Reached by email, The Getty noted the low attendance in 2025 was the result of the fire-related closure and not reflective of a drop in overall attendance since the museum reopened last June. Villa attendance numbers remain steady.)
Meanwhile, the federal government shutdown last fall crippled D.C. museums. The National Gallery of Art lost more than a quarter of its audience compared to the previous year. The National Museum of African American History and Culture’s and the National Museum of the American Indian’s numbers both dropped by nearly 15%. The National Portrait Gallery and Smithsonian American Art Museum saw audiences reduced to close to half of their pre-COVID size.
“The two museums had a particularly volatile year—with prolonged political battles with the Trump administration over programming, artists pulling out of exhibitions amid accusations of institutional censorship and high-level resignations,” The Art Newspaper said.
Stability despite volatility
Despite unsteadiness across the museum industry, the country’s most-visited institutions remained relatively stable.
Visitorship at New York’s Metropolitan Museum of Art — the world’s fifth most-visited art museum — was up by nearly 5%. Bolstered by the reopening of the Michael C. Rockefeller Wing, it attracted nearly 6 million visitors in 2025. Despite its shutdown troubles, the National Gallery of Art still ranked second in the U.S. in terms of visitor numbers last year. The Museum of Modern Art in New York saw a modest increase compared to 2024. And the Art Institute of Chicago experienced close to a 15% rise in attendance.
The power of prestige
The report attributes some of these gains to the power of blockbuster shows and big-name artists to draw crowds.
In New York, “Superfine: Tailoring Black Style” at The Met and the Jack Whitten retrospective at the Museum of Modern Art were top draws. “The Power of Names: Van Gogh” and Impressionist shows were major successes in D.C., LA and Boston. At the Museum of Fine Arts, Boston, a single Vincent Van Gogh exhibition accounted for more than a quarter of the museum’s annual attendance, which was up overall by 7% compared with 2024.
Big regional gains
Some regional museums also saw big gains.
The San Diego Museum of Contemporary Art nearly doubled its attendance. The Cleveland Museum of Art and Toledo Museum of Art also experienced significant jumps of more than 20%. Several museums even managed to best their pre-COVID benchmarks from 2019, including the Virginia Museum of Fine Arts and Frederik Meijer Gardens and Sculpture Park in Grand Rapids, Mich.
NPR has reached out to these museums for comment.
“In 2025, the museum welcomed more than 800,000 visitors, which was the highest attendance in the CMA’s nearly 110 year history,” said Todd Mesek, the Cleveland Museum of Art’s chief marketing officer in an email to NPR. “We believe that momentum is the result of sustained investment in exhibitions, public programs, and a commitment to free access, which ensures that our collection remains open and meaningful to all.” Mesek added that the ticketed special exhibition “Takashi Murakami: Stepping on the Tail of a Rainbow” generated the museum’s highest attendance in more than 25 years. The museum does not charge entry — and mostly never has — except for special exhibitions.
Global trends
The U.S. findings appear generally modest compared to other parts of the world covered in The Art Newspaper‘s report.
Notwithstanding a difficult year marked by a high-profile jewelry theft among other crises, the Louvre Museum in Paris — the world’s most-visited museum — still experienced a close to 5% gain in visitorship. It attracted more than 9 million people in 2025. And attendance at museums in East Asia — where, according to the report, “demand seems almost unlimited” — was particularly robust. The world’s third most-visited institution, the National Museum of Korea, Seoul, saw a whopping 72% jump on the previous year — “one of the largest rises in absolute numbers we have ever seen,” the report said.
However, political unrest derailed attendance at some institutions, especially in the Middle East. The Israel Museum lost 40% of its visitors compared with 2024, owing to Israel’s war in Gaza. The Tel Aviv Museum of Art faced cancellations of international exhibitions, and was shut for well over half the year owing to security concerns.
More than 200 million visits were made to the top 100 museums on The Art Newspaper‘s list, the report said. While this figure is still under the 230 million recorded in 2019, it is a vast improvement on the 54 million recorded in 2020.
“Our data for 2025 shows that, on the whole, art museums are as popular as they have ever been, with many of the biggest museums continuing to welcome millions every year,” the report said.
Fear of God women’s collection
The new womenswear collection from Fear of God brings a feminine touch to tailored classics.
(Fear of God)
A longtime staple in men’s luxury streetwear, this month Fear of God debuts its first womenswear line for Collection Nine. The collection brings a feminine touch to tailored classics that the house is known for, with wool cashmere coats and wide-leg slouch pants. Accessories include leather bags inspired by the sport duffel, and minimalist footwear — ranging from flats to slippers to kitten heels — for elegance at every occasion. Shop the collection online at fearofgod.com.
Awe Inspired X Jhené Aiko
The new collection from Awe Inspired X Jhené Aiko is out April 23.
(Awe Inspired)
What is your talisman? Is it a crystal? Is it a lucky coin? Or could it be a gold, labradorite beetle ring from Awe Inspired’s newest jewelry collaboration with Jhené Aiko? The collection taps into the animal spirit, including celestial medallions, saber-teeth, horns, claws and symbolic engravings, in line with Aiko’s forthcoming album, “West$ide Whim$y.” The pieces are like guardian symbols, designed to protect their wearer. They can also be worn as a statement or layered for everyday versatility. aweinspired.com
Madhappy Malibu opening
The new Mahappy Malibu location was designed as both a retail space and a cafe concept.
(Sean Davidson)
Madhappy has always been so L.A. Known for brightly lit, blue-floored stores, the brand opens its fourth permanent flagship in Malibu this month. After having to stall the opening because of last year’s fires, this retail location demonstrates the continued resilience of the L.A. community as they continue to fundraise and support local fire recovery efforts. Designed as both a retail space and a cafe concept, the store will feature collaborations with local favorites like Courage Bagels, Bianca and Beverly Hills Juice. 23465 Civic Center Way, Suite 860, Malibu. madhappy.com
“Portals” by Todd Gray at Perrotin
Todd Gray, “Portals (Antwerp, Paris),” detail, 2026. Three UV pigment prints on Dibond in artist’s frames.
(From the artist and Perrotin)
Artist Todd Gray.
(The Credit Line)
L.A.-based artist Todd Gray makes his debut at the Perrotin gallery with “Portals,” which combines eclectic photo sculptures inspired by the European Renaissance with landscapes from West Africa. The exhibition coincides with the unveiling of Gray’s commission at LACMA. Catch “Portals” through May 30. 5036 W. Pico Blvd., Los Angeles. perrotin.com
Ricari Studios opening
Ricari Studios lands in the Peninsula Beverly Hills.
(Ricari)
A new space for wellness and rejuvenation opens at the Spa in the Peninsula Beverly Hills: Ricari Studios. Known for its tech-forward treatments in blood circulation, tissue health and cellular vitality, the studio offers therapies for toning skin, relieving muscle soreness and lymphatic drainage. Treat yourself this April. 9882 S. Santa Monica Blvd., Beverly Hills. ricaristudios.com
“Curtains” by Jack Pierson at Regen Projects
Installation view of “Curtains” by Jack Pierson at Regen Projects.
(From the artist and Regen Projects)
Jack Pierson returns for his 11th exhibition at Regen Projects with “Curtains,” a collection of work that continues the artist’s exploration of language, using vintage signage and word sculptures coupled with old Hollywood lore like palm trees, clouds and roses. On view through April 18. 6750 Santa Monica Blvd., Los Angeles. regenprojects.com
Mykita’s new collection
It’s only getting hotter and sunnier. Berlin-based eyewear brand Mykita kick-starts a sunglasses spring with new minimalist lens shapes and ultra-slender lightweight frames. Whether rounded for elegance, cat-eye for chicness or with a gradient lens for a dreaminess, sunnies finish a look. Take your pick at mykita.com.
“Duets” by Josef Albers at David Zwirner
Josef Albers, “Study for a Homage to the Square,” c. 1970-1973, and “Study for a Homage to the Square,” c. 1970-1973.
(From the Josef and Anni Albers Foundation and David Zwirner)
Balance is always about mastering duality. “Duets” by Josef Albers is a study on paired compositions that are in dialogue: in form, in color and in texture. Marking the late artist’s first significant L.A. exhibition in decades, Albers’ works will be on display at David Zwirner starting April 9. 606 N. Western Ave., Los Angeles. davidzwirner.com
Damson Madder’s Appreciation Society
Gen Z’s favorite slow fashion brand, Damson Madder, is releasing its summer season “see-now-buy-now collection” that’s part-beach, part-city. Inspired by seaside U.K. town of Brighton, the collection pays homage to photographer Martin Parr’s candid stills of life by the beach. With tunic silhouettes, collars, ruffles, plaid and stripes, the pieces are a new playful summer uniform. damsonmadder.com
“Tatoo” by Ingrid Donat at Carpenters Workshop Gallery
Ingrid Donat, “Banquette aux Caryatides.”
(From the artist and Benjamin Baccarani for Carpenters Workshop Gallery)
Bronze, leather, textile and wood are fused together in furniture-focused sculptures by Ingrid Donat. For her first L.A. exhibition at Carpenters Workshop Gallery, she combines form and function with benches, couches and tables in a style that is simultaneously Art Nouveau, Art Deco and global. On view through May 29. 7070 Santa Monica Blvd., Los Angeles. carpentersworkshopgallery.com
“Free and Queer: Black Californian Roots of Gay Liberation” at CAAM
The Ache Project march, San Francisco, Calif. 1990s. Papers, General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
(Lisbet Tellefsen)
Intersectionality is on display at the California African American Museum with “Free and Queer,” a show that puts Black LGBTQ+ Californians at the center of the civil rights movement. With archival photographs, film and newspapers, it spotlights voices from the movement and unheard historical narratives. On view starting April 7. 600 State Drive, Los Angeles. caamuseum.org
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