Lifestyle
The Windsor Knot Takes Washington
On Tuesday, as news piled up about the Trump administration’s use of a Signal group chat to discuss military strikes, Kash Patel, the F.B.I. director, found himself facing the Senate Committee on Intelligence. He looked like a prep schooler sitting in detention.
His striped tie was yanked off center, and the top button of his dress shirt was conspicuously unfastened, as if too constricting for his neck.
But by the standards of President Trump’s cabinet, there was nothing off about Mr. Patel’s Dorito-shaped tie. After all, the wide Windsor knot, a symmetrical loop about the size of a Labrador’s paw, has become the standard in the administration.
Defense Secretary Pete Hegseth, the central character in the group chat debacle, favors plump knots that lack a dimple, giving them the look of a tie drawn by a child. Transportation Secretary Sean Duffy, Secretary of State Marco Rubio and the E.P.A. administrator Lee Zeldin similarly favor knots scaled somewhere between meatballs and dinner rolls.
For Mr. Trump’s congressional address in early March, when Elon Musk, the DOGE leader, finally traded his graphic T-shirts for a suit, his satiny blue tie was looped into a flat, broadsided knot. He may not officially be in Mr. Trump’s cabinet, but on that evening he knew the dress code.
The style transcends the West Wing. In their official portraits, Senators Jim Justice of West Virginia, Bernie Moreno of Ohio and Markwayne Mullin of Oklahoma demonstrate that they’re devotees of a fanned out V-shaped tie. The look is less common across the aisle, but some Democrats are Windsor sticklers, predating this administration. In fact, Senators Mark Kelly of Arizona and Chris Coons of Delaware flaunt two of the fattest, monkey-fisted knots on the Hill.
“It’s the new power look,” said G. Bruce Boyer, a former fashion editor of Town & Country magazine, said.
The 1999 book “The 85 Ways to Tie a Tie” illustrates many of the more esoteric methods for roping silk around one’s neck, but we really use only a handful of the knots today. The Windsor, and its brawnier brother, the double Windsor, are on the all-business end of that spectrum, according to Michelle Kohanzo, the president of the Tie Bar in Chicago. (The Windsor knot is named for the Duke of Windsor, though he didn’t actually employ the knot; he just wore thicker ties.)
“Historically, you would wear it to really formal or important events,” Ms. Kohanzo said. But today, as even ex-presidents forgo ties in public, most men wear a tie only for formal events or to workplaces clinging to a dated level of decorum. The Windsor has thus become the default.
It wasn’t always so in the White House.
In 2001, The Los Angeles Times noted that George W. Bush wore “his necktie with a rather trim knot that yields a dimple, a staple of contemporary dress.” Barack Obama and Joseph R. Biden likewise favored reedier, asymmetrical knots that didn’t fill the full cavity of their shirt collars.
There are outliers in Mr. Trump’s cabinet, especially among those who came of age when preppy fashions prevailed. The skinny ties that Robert F. Kennedy Jr., the health and human services secretary, wears are looped in a compact hold, about the size of an immature tulip.
But among the comparatively younger members of Trump’s administration — those roughly 55 and under — there appears to be a shared thinking that broad knots convey authority.
“There’s a brashness to it that kind of says, ‘We’re taking over and what are you going to do about it?’” Mr. Boyer said. He even ventured that there is something “Freudian” going on with these tie knots. “Mine is bigger than yours,” he offered.
As someone old enough to recall that John F. Kennedy’s cabinet caused a commotion by wearing tweed sport coats, Mr. Boyer believes that the only tie technique anyone really needs is the unboastful four-in-hand loop.
Mr. Trump himself may not wear the widest tie in Washington, but he favors large, simple, bright clothes that recall the 1980s.
“This kind of ’80s, ’90s power dressing is coming back,” Ms. Kohanzo said. If men are wearing ties at all, they’re embracing them at Gordon Gekko scale.
The Tie Bar’s best seller is a three-inch “moderately fat tie,” Ms. Kohanzo said, and increasingly the company is selling even larger ties, as well as shirts with conspicuous collars.
Business leaders like Jeff Bezos and Sundar Pichai wore Windsor knots when they attended Mr. Trump’s inauguration in January. Mr. Bezos rarely wears a tie in public, but when he does, he tends to favor the Windsor. On NBC, sports commentators like Tim Howard are employing this knot. And Jamie Dimon’s tie loop looks not that dissimilar to those worn in the White House.
“There’s no subtlety to it,” Mr. Boyer said. “Everything is just a little oversize, glossy, showy, shiny.”
Animated Australian sensation “Bluey” has arrived in Disneyland, and the titular anthropomorphic pastel-coated canine has come ready to play. And dance. And to race some “barky boats.”
The Walt Disney Co. first teased that the Blue Heeler puppy and her younger sister Bingo would be coming to the Anaheim theme park in 2024. Bluey is now the star of a performance-focused takeover of the park’s Fantasyland Theatre, which officially opened Sunday.
Two shows, games and spontaneous dance parties are hallmarks of the experience, as Disneyland’s live entertainment team sought to translate the show’s particular broadcast-based appeal to the real world.
“Bluey” works because it’s charmed children and grown-ups alike, emphasizing imaginative parenting skills as much as it does Bluey’s playful spirit. Though only about seven minutes, each core “Bluey” episode unfolds patiently, often centered on make-believe, wonder and childlike ingenuity. Subtle life lessons, such as cooperation, understanding one’s self-worth, overcoming a fear of the unknown and much more, dot seemingly simple scenarios.
In many episodes, Bluey’s mom (Chilli) and dad (Bandit) indulge in their daughters’ penchant to play pretend, so much so that a friend of mine with a young girl joked that she needed to watch the show to learn how to be a better mom.
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I arrived at “Bluey’s Best Day Ever!” as a childless columnist, and yet I came away enchanted by what Disneyland’s live entertainment team, led by Susana Tubert, had concocted. It’s a little silly and corny, yes, but manages to vary the tempo and can even tug at one’s heartstrings by showing the bond between siblings.
Theme park fare, especially when aimed at a preschool set, tends to fall back on high-energy, photo-op-based treatments, and while there’s plenty of amped-up goofiness here, “Bluey’s Best Day Ever!” understands that’s not why the series was the most-streamed program in 2025, according to data from research firm Nielsen.
Two core shows are featured in the experience, and some “Bluey” regulars make an appearance. The overbearing, bratty hand-puppet Unicorse, for instance, plays key roles in launching each performance. Set to play continuously throughout the day, with breaks for Bluey and Bingo to appear on stage and dance or play with youngsters, each has a slightly different tone and feel.
One emphasizes an adventure story, its themes encouraging Bluey to flash some bravery and dispel stereotypes. The other takes a lighter touch, with some of the softer, almost ballad-like songs from the show, such as “Rain (Boldly in the Pretend),” highlighted, seeking to emphasize the bond between Bluey and Bingo. Here, I thought of Bluey’s more tender moments — those, for instance, that emphasize becoming comfortable with growing older and letting go.
“Bluey’s Best Day Ever!” features live music, puppets and dance breakouts.
(Mark Potts / Los Angeles Times)
“We try to hit the humor, the play — shared play — and some of the more profound experiences that these characters go through,” Tubert says. “At the end of the second show, you’ll see a moment that is really quite beautiful. It’s a tribute to sisterhood, and how these two characters of Bluey and Bingo connect with one another.”
While one can certainly sit in the Fantasyland Theatre’s stands and simply take in the two shows, there are plenty of moments geared at getting audiences moving. Dances, for instance, may mimic animal behaviors, or reference popular moments from the series, such as getting grannies to floss.
A nod to the attention-seeking fairies — here, less Tinker Bell and more a metaphor for being noticed — inspires a “Riverdance”-like breakout. The five-piece, brass-heavy band gets a workout when Bluey’s impossible-to-control toy Chattermax has a cameo. The squawking plaything can test even Bluey’s patience.
Throughout, performers walk a line between teaching the maneuvers to the crowd and getting lost in the moment themselves. The challenge for Disney choreographer Taylor Worden was to create dance moves that also doubled as audience encouragement.
Spin, for instance, like a flower in the wind, or lightly snap your fingers to recall the sound of rain. Bounce with your hands in front of you as if you’re driving a car down a rocky street, or put your hand above your head and try for an elegant, ballerina-inspired twirl.
“It actually was letting go of all of those technical things that I’ve learned and letting that inner child come out,” Worden says. “As imaginative as Bluey and Bingo are, I wanted to hone in on that. I want everybody to enjoy, have fun and play. Play is at the forefront of everything. It’s so easy to get set in our ways, and even as an adult, it’s so hard to actually play nowadays. This has been such an experience to get to a childlike state.”
“Bluey’s Best Day Ever!” references many show moments from the series, including one with nods to the fairies.
(Mark Potts / Los Angeles Times)
There’s more, however, to “Bluey’s Best Day Ever!” than the two performances. The Fantasyland Theatre has been outfitted with pop-up installations. Some are purely photo ops, such as an opportunity for little ones to take a class photo with Bluey and her pals, while others aim to inspire exploration, such as a mini gnome village or fairy garden.
Taken as a whole, the feel is something of a fair, like hanging out with Bluey and Bingo at a backyard barbecue. The theater’s walk-up food window is serving pizza-inspired baked potatoes, a colored chocolate pretzel meant to mimic an asparagus pretzel wand, and more.
There’s also a place to race some “barky boats.” In the show, barky boats is a game that takes place on a tiny stream with tree bark, but there’s no water here. Instead, look for a track in a nook above the seating area, where one can race wooden blocks affixed with wheels — think Pinewood Derby — down a track painted to mimic a waterway. Throughout the theater, the colors are springlike and muted, pastels that are lightly bright and storybook-inspired. Even the dance costumes adopt this soft, crayon-like color palette.
“Bluey’s Best Day Ever!” at the Disneyland Resort invites audience participation.
(Mark Potts / Los Angeles Times)
“The color palette works perfectly with the set,” says Trevor Rush, a manager with costume design and development. “Lots of pastel colors. ‘Bluey,’ that world, focuses very much in that primary world. You won’t see a lot of black represented.”
“Bluey’s Best Day Ever!” does not currently have an end date, but is expected to be a Disneyland staple throughout the spring and summer seasons, with showtimes currently set for the late morning and early afternoons. For Tubert, who has an extensive background in theater, “Bluey’s Best Day Ever!” is meant to highlight the theme park as a place of play, where one can be a bit silly, and maybe even a little vulnerable.
“There’s a nonjudgmental safe space that we’ve created in ‘Bluey’s Best Day Ever!’ that invites everyone to feel uninhibited and the joy of playfulness,” Tubert says.
The illuminated bell tower of the Basilica Minore dei Santi Filippo e Giacomo stands at the heart of Cortina d’Ampezzo, Italy, as evening settles over the valley. Once a small village of farmers and shepherds, this storied town has evolved into the “Pearl of the Dolomites,” a renowned luxury destination. Surrounded by the limestone peaks of the UNESCO World Heritage Dolomites, the town’s historic center remains a “living room” for celebrities and high society.
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CORTINA D’AMPEZZO, Italy — Walking the main thoroughfare of Cortina D’Ampezzo is a glamorous experience. It is as if every designer brand has decided it needs to be represented in this small town more than 4,000 feet up in the Italian Alps. In a few short steps, you pass shops for Dior, Fendi, Gucci, Prada and more. Among passers-by, fur coats are in fashion.
Cortina has been in the international spotlight in recent weeks as a host to many of the Olympic and Paralympic Winter Games. But this storied town has a much longer history of fame and fortune that has led to various nicknames like Pearl or Queen of the Dolomites.
A window display for the luxury fashion brand Fendi illuminates a central street in Cortina d’Ampezzo, adjacent to a large outdoor sculpture of a skier. The town’s main thoroughfare is a glamorous hub where premier designer brands like Dior, Gucci and Prada are represented.
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On the mountain slopes nearby, skiers stop for hot chocolate or an alcoholic spritz at an Alpine lodge where they are served by Riccardo Fiore, the grandson of the region’s winter sport champions. His grandmother, Yvonne Rüegg, is an Olympic gold medalist in giant slalom. His grandfather was the trainer of Alberto Tomba — one of history’s greatest Alpine skiers, who learned on these very slopes. “Tomba still stops by here all the time,” he says.
Riccardo Fiore, grandson of Olympic gold medalist Yvonne Rüegg, poses inside his family’s Alpine lodge in the Dolomites.
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American actor Sylvester Stallone (right) and director Renny Harlin on the set of Harlin’s film Cliffhanger.
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A large-scale photograph of Italian skiing legend Alberto Tomba, wearing a traditional fur hat and reading a sports newspaper with the headline “Immenso Alberto,” is displayed in a wood-paneled interior in Cortina d’Ampezzo. Tomba, one of history’s greatest Alpine skiers, learned to race on these slopes under the guidance of local trainers, further cementing the town’s status as a historical cradle of international winter sports.
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For Fiore, there’s nothing unusual about serving drinks to famous individuals. He names well-known Italian politicians, actors and singers he has spotted in the lodge. And there are international names who visit Cortina, too — Sylvester Stallone, who filmed scenes from the 1993 action movie Cliffhanger here, Snoop Dogg, Justin Timberlake and Ridley Scott, to name a few.
“Many celebrities you barely recognize,” he says. “They try to disguise themselves, as they don’t want to attract too much attention.”
Nonetheless, Cortina has earned another nickname — the “celebrities’ living room.” The Hotel de la Poste bar, with its wood-paneled ceiling and walls, was a favorite haunt of American writer Ernest Hemingway. A small plaque honors him on a wall by the corner table he occupied for countless hours in the 1940s. And the hotel has preserved the room he stayed in — visitors can look in to see his typewriter.
“His room is a time capsule,” says Servane Giol, author of The Queen of the Dolomites, a book about the history of Cortina.
“I found some amazing letters from Hemingway explaining how he was a bit against ski lifts, because he believed it was better for the legs to be warmed up by climbing the mountains and skiing down,” Giol says. “This really made me laugh; to think that somebody could be against ski lifts.”
Servane Giol, renowned expert in Venetian art and lifestyle, poses in the historic wood-paneled Stube of the Hotel de la Poste. Giol, who has dedicated her work to preserving the cultural and aesthetic heritage of the region, sits beside an old painted pendulum clock, a symbol of the hospitality and Ampezzo tradition that the hotel has represented since 1804.
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American writer Ernest Hemingway, wearing a hunter waistcoat, stands behind a bar counter and pours gin in Cortina d’Ampezzo in 1948.
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Members of the U.S. Olympic teams walk during the procession into Cortina’s huge ice stadium for opening ceremonies launching 11 days of competition in the 1956 Winter Olympics.
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Giol says Cortina, once a small village of farmers and shepherds, became famous in the 1920s, when it was visited by the then king of Belgium, who loved to climb the jagged limestone Dolomite peaks that surround it. His daughter then married an Italian crown prince. “Between the 1920s and the 1940s, Cortina was actually the chicest place to be. You’ve got very glamorous royal families,” she says.
It became a destination for Italy’s wealthy. And then in 1956, Cortina hosted the first-ever Winter Olympics to be televised. Archive footage shows grainy black-and-white images of the opening ceremony, described by the news anchor as the “spectacle of peace.” Olympic participants from 32 countries took part in the Games that saw athletes speeding down the mountain slopes or shooting down the bobsled track built at the edge of the town.
The television broadcasts internationalized Cortina’s fame. Hollywood films were shot here — including the first Pink Panther movie, as well as the 1981 film For Your Eyes Only, with actor Roger Moore as James Bond. It includes a high-octane chase, as Bond skis down the mountainside pursued by assassins on motorbikes who shoot at him, the bullets zinging past as he slaloms and performs a somersault on skis.
English actor Roger Moore poses as 007, with a Lotus Esprit Turbo, on the set of the James Bond film For Your Eyes Only in Cortina d’Ampezzo, Italy, in March 1981.
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Today, the Dolomites are a UNESCO heritage site and their beauty attracts celebrities and huge numbers of other tourists — many lured by images shared on social media of the turquoise Alpine lakes and stunning peaks.
And more crowds came in February and March to watch the Olympics and Paralympics. This time, the Games relied almost entirely on artificial snow. As winters become shorter and warmer because of climate change, there are also questions about the future of this ski resort town.
Ludovica Rubbini, co-founder of the Michelin-starred restaurant SanBrite, inspects a wheel of artisanal cheese inside the establishment’s aging cellar. The “agricucina” project emphasizes the traditional preservation and maturation of local dairy products, showcasing the deep connection between the restaurant’s kitchen and its own farm production in the Dolomites.
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A table setting awaits customers at SanBrite restaurant.
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A waiter provides tableside service for guests in the dining room of the Michelin-starred restaurant SanBrite. The establishment, known for its “agricucina” philosophy, combines a refined mountain atmosphere with traditional Cortinese architectural elements, emphasizing a direct connection between local ingredients and high-end hospitality in the heart of the Dolomites.
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But Cortina is changing, too. More people come for summer hiking and for unique fine dining, like that offered by Ludovica Rubbini and her husband, Riccardo Gaspari, whose restaurant SanBrite has earned a Michelin star, as well as the guide’s “green star” for the sustainable agricultural and locally grown ingredients the couple uses on its farm.
In the cozy restaurant, where dried flowers hang from the walls and lights include lamps used during the 1956 Olympics, waiters tell guests at this fine-dining restaurant about the cows that provided the home-churned butter that is served in large pots for sourdough bread.
The dishes are inspired by the mountains and woodland of the area. They include a Jerusalem artichoke cigar served on a bed of moss and filled with the cream of the artichoke, mushrooms and marinated shallots. And a dessert made to look like a frozen lake, with a panna cotta base and layer of frozen water and elderflower, and yogurt powder as a dusting of snow.
“We were out for a walk, and Riccardo crouched by the frozen lake tapping it and examining it,” Rubbini says, remembering the day her husband was inspired to develop this perfect winter dessert.
The snow-capped peaks of the Tofane massif are framed through a window of a rifugio, a kind of traditional mountain hut, decorated with typical heart-patterned Ampezzo textiles. These high-altitude lodgings serve as essential rest areas for skiers and hikers, offering a blend of rustic hospitality and panoramic views that define the winter experience in the Dolomites.
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Universal Studios Hollywood has begun peeling back the curtain — or opening the garage? — on its new “Fast & Furious”-inspired coaster coming to the park this summer.
The coaster will feature four heavily detailed miniature cars as ride vehicles. These four-seaters — mimicking a Dodge Charger, Mazda RX-7, Nissan Skyline GT-R and Toyota Supra, all complete with pull-down lap-bars and working taillights — were unveiled at a media event Wednesday.
But perhaps the most exciting news out of the event is just how meaty of a coaster Fast & Furious: Hollywood Drift looks to be.
Fast & Furious: Hollywood Drift will launch this summer at Universal Studios Hollywood and boast ride vehicles that are miniatures of actual cars. The show building is themed like a warehouse with a vibrant, spray-painted mural.
(Todd Martens / Los Angeles Times)
The attraction, the second outdoor coaster at the park after the more kid-focused “Harry Potter” ride Flight of the Hippogriff, was timed at running about two minutes around the track, which goes over and under the park’s famed hillside escalators. Hollywood Drift will reach a top speed of 72 mph.
While a representative for the company said the coaster is intended to reach that 72-mph milestone at various points on the ride, it’s worth noting that it’s still in testing mode and the final speeds and run-time may change. Still, the fact that Universal has been able to pack such a mighty experience into a tight piece of real estate should be positive news for coaster enthusiasts.
By comparison, the family coaster Flight of the Hippogriff is only about a minute, whereas Disney California Adventure’s Incredicoaster comes in at more than 2 and a half minutes. It’s not uncommon for modern coasters today, due to their increasing emphasis on speed and thrills, to last only about a minute.
A look at the ride vehicles and inside mural in the passenger load area of Fast & Furious: Hollywood Drift.
(Todd Martens / Los Angeles Times)
Though packing storytelling into a fast-moving outdoor ride is always a theme park challenge, Universal is doing what it can to make guests feel as if they’re sitting in actual tiny, authentic cars. Check, for instance, the brightly orange Supra, or the black, vintage-style Charger. Each car will be equipped with onboard audio and has unique details, right down to the different placement of the odometers on the dashboard.
One question: Do those odometers actually work and measure speed? A Universal rep declined to answer, but no matter, as most guest will likely be focused on the scenery outside the vehicle, such as the next-door golf course or bird’s-eye views of the park.
An artist rendering of Universal Studios Hollywood’s Fast & Furious: Hollywood Drift, the park’s first high-speed outdoor coaster.
(Universal Studios Hollywood)
The coasters will board two at a time inside the red brick, warehouse-themed show building, which features spray-painted murals from artist Tristan Eaton. Each coaster train holds four cars. There will be a single rider line for solo guests, and the coaster will boast 360-degree rotation, which is meant to create the sensation of a car drifting. The track is 4,100 feet and will take guests on a hillside journey between the park’s upper and lower lots.
The “Fast & Furious” saga spans 11 films, and will soon be recognized with an exhibit at the Petersen Automotive Museum. “A Fast & Furious Legacy: 25 Years of Automotive Icons” opens March 14 and will feature various movie-used vehicles and stunt cars. Among the cars on display will be an early ‘90s Supra driven by Paul Walker’s character Brian O’Conner, one of the vehicles Universal mimicked for the roller coaster.
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