design

Disney California Adventure this month turns 25. Though Disneyland Park’s littler and much younger sibling, the park has grown into a respectable offering, one that ranks among my favorite Disney parks in North America. No small feat, considering its checkered, less-than-ambitious launch.

California Adventure is today emblematic of some of the best that Disney has to offer. And yet it remains a work in progress. The subject of constant tinkering, another reimagining is on the horizon.

With more Marvel, more “Avatar” and more Pixar due to be injected into the park, California Adventure stands at a crossroads. But also one with risks: Will it soon feel like a collection of brand deposits? This, of course, has appeared to be the vision of the company’s theme parks in the recent past. This doesn’t always have to be a negative. Consider it more a word of caution.

A “Coco” boat ride is destined for Disney California Adventure. The ride is under construction.

(Pixar / Disneyland Resort)

Few Disney properties, for instance, seem more ripe for exploration in a California-focused theme park than “Coco.” Under construction where Paradise Gardens and Pixar Pier meet, a “Coco”-inspired boat ride will give the park at long last a permanent home to recognize our state’s Latin culture and heritage. While fans may long for the days of original attractions such as Pirates of the Caribbean and the Haunted Mansion, those based on intellectual property — IP in industry speak — aren’t evil, especially when used to heighten the overall themes of the park. California Adventure’s own Cars Land is a key example.

When it starts to feel like retail, however, parks can become exhausting. Looking at you, Avengers Campus, a half-finished land with a bombastic orchestral score and familiar, urban design that wouldn’t be out of place in downtown L.A. In its current state, the land works best as a backdrop for live entertainment as it lacks the welcoming feel of Disney’s top creations.

California Adventure, at its most idealized, stood for more than an assortment of film properties. Its pitch was to show the Golden State as a romanticized destination, one that in the post-Gold Rush era has often given America permission to dream. It would capture our people, our nature, our food and our glamour through a lighthearted, optimistic lens. When completed, the park had a mini Golden Gate Bridge and giant letters that spelled out the name of our state (which were removed about a decade later).

By the time California Adventure opened in February 2001, it had already been the subject of much revision. The Walt Disney Co. wanted it to be a West Coast answer to Walt Disney World’s Epcot. Its plans at the time were well-documented, with the Walt Disney Co. initially giving Westcot, as it was to be called, a spherical answer to the Florida park’s Spaceship Earth. In time, and in attempts to quell neighborhood concerns, the globe’s design would shift to become a large, futuristic needle.

California Adventure in 2001 was meant to depict a romanticized vision of California.

(Mark Boster / Los Angeles Times)

None of it was to be. Financial headaches, caused in part by the early-year struggles of Disneyland Paris, inspired Disney to change course. Disney California Adventure would open with few attractions that rose to the Disneyland level, and yet The Times was kind in its opening coverage, praising the park’s change of pace from its neighbor and admiring how its architecture blurred fiction and reality.

The hang-gliding simulation Soarin’ Over California was an instant hit, and Eureka! A California Parade was Disney theatricality at its weirdest, with floats that depicted Old Town San Diego, Watts and more. But California Adventure’s prevalence of dressed-up county fair-like rides failed to command crowds. Disney’s own documentary “The Imagineering Story” took a tough-love approach, comparing some of its initial designs to those of a local mall.

The grand opening of California Adventure in February 2001.

(Mark Boster / Los Angeles Times)

And yet today it’s home to one of the Walt Disney Co.’s most fully-realized areas in Cars Land, which opened in 2012. Flanked by sun-scarred, reddish rocks that look lifted from Arizona, Cars Land is a marvel, and on par with the best of Walt Disney Imagineering’s designs (see New Orleans Square, Star Wars: Galaxy’s Edge and Pandora — the World of Avatar). Nodding to our Route 66 history, the land is a neon-lit, ‘50s rock leaning hub of activity, complete with the showstopping Radiator Springs Racers.

Cars Land led a major makeover of the park that also included the nostalgic Buena Vista Street, a nod to the Los Feliz era of the 1920s. And by the mid-2010s, many of California Adventure’s most insufferable traits, such as its ghastly puns (San Andreas Shakes was bad, but the Philip A. Couch Casting Agency was cringe-inducing) as well as the short-lived disaster of a ride that was Superstar Limo, had begun to disappear.

Cars Land, added to California Adventure in 2012, is one of Walt Disney Imagineering’s grandest achievements.

(Mark Boster / Los Angeles Times)

With the nighttime show World of Color, and a bevy of in-park entertainment, California Adventure pre-pandemic began to feel like something akin to a full-day park. It wasn’t perfect, of course — no park is.

The Little Mermaid — Ariel’s Undersea Adventure, though lightly charming, suffers from being a hodgepodge of familiar scenes from the film rather than a narrative tableau that can stand on its own. Too many empty buildings clutter its Hollywood Land area, the makeover of Paradise Pier into Pixar Pier did little but add garish film-referencing art to the land and the crowd-pleasing transformation of the Twilight Zone Tower of Terror into Guardians of the Galaxy — Mission: Breakout! was completed at the expense of the park’s prime Southern California theming.

Paradise Pier at California Adventure in 2002. The land has since been remade into Pixar Pier.

(Don Kelsen / Los Angeles Times)

But there is much about California Adventure to adore. It shines during holidays, whether that’s Lunar New Year at the top of the year or the back-to-back combo of Halloween and Christmas seasons near its end. Here is when California Adventure’s entertainment comes to the fore, bringing the park alive with cultural tales that at last reflect the diversity of the modern theme park audience.

How grand it would be, however, if California Adventure were blessed with this level of entertainment year-round. The Hyperion Theater, a 2,000-seat venue at the end of Hollywood Land, and once home to shows inspired by “Frozen,” “Aladdin” and “Captain America,” today sits empty. If the Walt Disney Co. can’t justify funding the theater, jettison it with the park’s upcoming makeover, as it stands as a reminder of how fickle the corporation can be when it comes to live performance (also gone, the great newsboy-inspired street show).

Staff at California Adventure put the final bit of polish on the letters that spell out “California” ahead of the park’s 2001 opening. The letters once stood at the entrance of the park.

(Mark Boster / Los Angeles Times)

Looking ahead, I expect Disney to deliver a powerful “Avatar” ride, and early concept art has shown a thrilling boat attraction that appears to use a similar ride system to Shanghai’s Pirates of the Caribbean: Battle for the Sunken Treasure, which is hailed by many as one of the company’s strongest modern additions. Worthy of debate, however, is how the pure fantasy landscape of “Avatar” fits in a park that still nominally tries to reflect California and our diversity.

And does it matter?

The company would likely argue that if the ride wows guests and extends the “Avatar” brand into another generation, that it does not. But Disneyland next door isn’t timeless because it has “Peter Pan” and “Star Wars.” It has endured for 70 years because its attractions, by and large, reflect cultural myths. And it’s a park we want to spend days in, thanks to its gorgeous landscaping, calming Rivers of America, and human tales of avarice, unity and romance spread throughout its attractions.

For theme parks, after all, can jump the shark, so to speak. Spend some time, for instance, sitting in California Adventure’s San Fransokyo Square. It’s a needless, post-pandemic makeover. What was once a simple food court has been transformed into a loud nook stuffed with a “Big Hero 6” meet-and-greet and gift shop. You’ll be transported, but to a place more akin to a marketing event.

So happy 25, California Adventure. We love you, and you’re a park worth celebrating, but like most post-collegiate kids, there’s still some room to learn.

A one-size-fits-all sartorial approach is out of the question for the showmen of “Sinners,” “Hamnet,” “Frankenstein” and “Marty Supreme.” But whether the arena is theater, music, science or sports, all wear garments that accentuate their emotional states and prodigious talents — and leave an enduring mark. Here, Oscar-nominated costume designers Ruth E. Carter (“Sinners”), Malgosia Turzanska (“Hamnet”), Kate Hawley (“Frankenstein”) and Miyako Bellizzi (“Marty Supreme”) discuss defining menswear statements with The Envelope.

In Carter’s third collaboration with Ryan Coogler, Michael B. Jordan’s sharply dressed twins Smoke and Stack return to the Mississippi Delta in 1932 to open a juke joint, tapping their gifted blues musician cousin, Sammie (Miles Caton), to perform. “You see this style that [old blues players] embodied, whether it’s two-tone shoes, the hat, vest, shirts; all of that was laced into the storytelling,” says Carter. He might be a preacher’s son, but Sammie wears his passion on his blues-infused clothing in the record-breaking “Sinners.” “The vest is patched to show the wear from the guitar strap.”

Before the night goes to vampire hell, all eyes are on Sammie in earthy and gold tones as he sings “I Lied to You.” Artists spanning centuries and continents (including an electric-guitar-playing rocker and a Zaouli dancer) add to the mesmerizing sequence before returning to Sammie. “When we come back to him, we’re coming back to his own force and look,” Carter says.

A sketch of Sammie’s bluesman-inspired costume in “Sinners.”

(Ruth E. Carter)

A final scene set in 1992 shows Sammie (played by musician Buddy Guy) still beguiling audiences. Carter incorporates Guy’s real-life signature polka dots to highlight “this is a real story of the blues, and this is a real bluesman.” Stack’s authentic Coogi sweater (a nod to Biggie Smalls) contrasts with Sammie’s classic tailoring, which doubles as a memorial to his other cousin: “The color blue was an homage to Smoke and the flat cap.”

Clothing is also for remembrance in Chloé Zhao’s “Hamnet,” in which a grieving William Shakespeare (Paul Mescal) turns to a meaningful shade in paying tribute to his son during the inaugural run of “Hamlet” at the Globe Theatre in London. “Will, in my head, was imagining, remembering and holding on to the memory of Hamnet,” Turzanska says. “And in a super crude, simplified way, putting the paint and the colors that he remembered onto Hamlet’s character with those brushstrokes.”

Turzanska constructed the players’ costumes from raw linen, using slightly enlarged, period-accurate shapes combined with contemporary latex paint. Using this stage language, Hamlet’s (Noah Jupe) jerkin is “quilted and painted flat,” to conjure Hamnet (Jacobi Jupe): “It was a memory of the vertical stripes.”

There are echoes among the costumes for William Shakespeare, Hamlet and Hamnet in Malgosia Turzanska’s costumes for “Hamnet.”

(Malgosia Turzanska)

Offstage, growing slashes in Will’s leather doublets depict “emotional turmoil.” Still, his turn as Hamlet’s murdered father (the Ghost) is the most overt example. The off-white cloak caked in clay is deliberately drained of all color. Turzanska tested the symbolic shroud (“You put this little harness on”) to ensure Mescal could move freely. Catharsis comes after Will exits the play: “The clay is cracking and falling off. Finally, when he washes it off, we see him break down for the first time and actually cry.”

Not every stage has a paying audience. In Guillermo del Toro’s “Frankenstein,” Victor Frankenstein (Oscar Isaac) reanimates a corpse during a disciplinary hearing demonstration. Clad in red, white and black, the renegade scientist’s sartorial inspiration is not bound to a single era.

“That was the first note from Guillermo [about Victor]. He goes, ‘Dandy, rock star. Look at David Bowie. Look at Prince,” says Hawley. “When we started talking with Oscar, he came in with his Prince stuff. When you look at his performance, you see all those subtleties, the physicality, the swagger.” Piping on the waistcoat is “a kick” to stand out against judges in black.

Hawley embraces “wonderful peacock” 1850s menswear shapes: Victor’s puffed-out chest accentuates the “wasp waist” likening him to a matador. An exaggerated period heel adds flair. “Shoes are what root the actor to the ground and their character,” Hawley says. “It elevates every gesture from there.”

Victor Frankenstein’s costumes in “Frankenstein” were inspired by musicians like David Bowie.

(Kate Hawley)

“Marty Supreme’s” Bellizzi is equally mindful of footwear. Bellizzi “worked with Keds to find the shape” resembling a narrow 1950s sneaker for Timothée Chalamet to wear as ambitious table tennis player Marty Mauser. “When he was training, I would give him a few different sneakers to see what looked good but also what felt good,” says Bellizzi. “Because he had to wear them all day and play in them.”

Marty switches from a sedate black polo shirt and high-waisted wool pants while playing at Wembley in London to an eye-catching pink satin set on tour with the Harlem Globetrotters during a lighthearted interlude in Josh Safdie’s propulsive comedy-drama. “We overexaggerated the pants and the sleeves in the body so it is big and flowy,” says Bellizzi.

By the time Marty arrives in Japan, his everyday suit “has been through the wringer.” Luckily, a rigged ping-pong exhibition match allows Marty to embrace his theatrical talents. “It was an opportunity to show him as someone else. He’s undercover,” says Bellizzi. “He has the cap and the jumper.” Ever the showman, Marty relishes ditching the pretense and his wardrobe onstage, embracing his competitive streak. “He turns it into a bigger situation than it should have been, and maybe part of the surprise is that he’s derobing,” Bellizzi says. “It shows how much passion comes out.” Across venues and centuries, each man’s attire is ovation-worthy.

When women take the ice for Thursday’s Olympic free skate in the global fashion capital of Milan, five skaters will compete in dresses made by Los Angeles-based designer Lisa McKinnon.

McKinnon has become the must-have name in figure skating couture, dressing the entirety of the U.S. and South Korea women’s teams. Americans Alysa Liu, Amber Glenn and Isabeau Levito wore McKinnon’s designs in the short program and will do so again in the free skate.

And one of those dresses may be featured on the medal podium. Liu stands in third place after Tuesday’s short program, while Levito is in eighth and Glenn tumbled to 13th with the free skate still to come.

McKinnon knows exactly how clothing needs to fit on bodies moving across the ice — for spins, for jumps, for everything it takes to win. The fabric must be able to stretch in all directions, which necessitates a four-way stretch fabric. Design with a two-way stretch and a skater might not be able to lift their arm. Dress skaters in spandex, power mesh and stretch velvet, and they’ll move like they do in training.

American Amber Glenn competes in the figure skating short program at the Winter Olympics in Milan on Tuesday.

(Robert Gauthier/Los Angeles Times)

McKinnon sources most of the fabric locally from the fashion district in downtown L.A.

“It’s really great to just go in person because sometimes it’s the fabric that can inspire you to create something with,” McKinnon said.

McKinnon’s time on the ice that taught her how to create fashion for an athlete tailored for movement and aesthetic appeal. She grew up as a competitive figure skater in Sweden, and she started making bodysuits and dresses — which she wore to practice — for herself at age 11 or 12. By 16, she was designing dresses for elite skaters in her hometown, Mariestad, Sweden, including a Swedish national champion. At the time, they shared a coach, and the coach asked McKinnon to design a dress for the skater.

“They had seen the dresses that I made for other skaters,” she said. “They were just — you know — putting their faith in my hands that I could do this.”

After high school, McKinnon skated in tours in Europe and then North America. In the United States, she first settled in Las Vegas, where she designed dresses for local skaters. When she moved to L.A., bigger name skaters started calling. She designed for Ashley Wagner, three-time U.S. champion, and Karen Chen, who competed in her dresses at the 2018 Olympic Games. McKinnon says they were the ones who “got her noticed.” Noticed to the point that Milan is by no means the designer’s Olympic debut. In 2018, she outfitted pairs gold medalists Aljona Savchenko and Bruno Massot from Germany.

Since then, McKinnon has become the go-to designer for elite women’s figure skaters in the United States. At U.S. nationals in St. Louis in January, eight of the 18 senior women competed in McKinnon’s dresses. In the final warm-up alone — composed of the six skaters leading after the short program — five wore McKinnon designs. There, Glenn, Liu and Levito stood on the podium in her dresses.

In St. Louis, McKinnon hand delivered a dress to Liu, the reigning world champion who debuted a long-awaited Lady Gaga free skate routine. Liu practiced in the dress and McKinnon was able to make on-the-spot adjustments.

Surprisingly, hand delivery isn’t the norm for the dresses that run from $3,000-$8,000, averaging around $5,000 (McKinnon charges by the hour). Because McKinnon designs for skaters who train all over the country — Liu in Oakland, Glenn in Colorado Springs, Colo., and Levito near Philadelphia in southern New Jersey — FedEx shepherds the dresses across the country. Skaters make sure the dresses fit OK before McKinnon and her four-person seamstress team add sparkle, which usually means a crystal count in the thousands. Beads, paillettes and pearls are often mixed into the shine. Each crystal is hand affixed with E6000 glue.

American Christina Carreira and partner Anthony Ponomarenko compete during the ice dancing free skate at the Winter Olympics on Feb. 11 in Milan.

(Robert Gauthier/Los Angeles Times)

McKinnon affixed faux rose pedals to a dress for American ice dancer Christina Carreira to debut during the skater’s own Olympic debut. Midway through the skating season, Carreira and partner, Anthony Ponomarenko, returned to their free dance from two years ago, “Perfume: The Story of a Murderer.” They needed new costumes to differentiate from their performances two years ago, and McKinnon had already designed costumes for the team’s rhythm dance to La Bouche’s “Sweet Dreams.” McKinnon made the new dress in a little over a week, and it was set to arrive three days before Carreira left her training base in London, Canada, for the Games.

Except the dress didn’t arrive.

McKinnon learned that the package was stuck at a FedEx facility in Memphis, Tenn., after Winter Storm Fern pummeled the region.

“We would call and sometimes they’d say it’s in L.A., sometimes they’d say it’s in Memphis, so we didn’t know where it was,” Carreira said. “We weren’t getting answers, but going on social media actually helped.”

Carreira woke up after her flight to Milan to find an Instagram message with a photo of her dress. A woman told Carreira that her husband had found the package and put it on the first plane to Detroit, where Carreira’s coach, Scott Moir, retrieved the package to bring to Milan.

Carreira first tried on the dress in Milan. “It fit perfectly,” she said. “Lisa has never met me. She’s only seen me over FaceTime, and the two dresses she’s made fit perfectly.”

Carreira and Ponomarenko placed 11th in their Olympic debut.

“I wanted a dress that made me feel special at the Olympics,” Carreira said. “And both of those dresses did that.”

Carreira came to McKinnon’s designs through Glenn, who skated her short program to Madonna’s “Like a Prayer” wearing a McKinnon design based on the 1989 music video. After admiring McKinnon’s designs, Carreira talked it over with Glenn at an early season competition in Oberstdorf, Germany.

“She said Lisa was super easy to work with,” Carreira said. “The dresses fit perfectly.”

McKinnon designs from her studio, which occupies the first floor of her apartment in West Hollywood. There, McKinnon and her team watch their dresses take the runway in Milan. Except the runway is made of ice and the skaters will do much more than walk.

As I stand and look at a six-metre skeleton of a domestic cat named Felix, the words of Alice in Wonderland spring to mind: “Curiouser and curiouser.” The sculpture is part of a thought-provoking and enchanting exhibition at the Centre Pompidou-Metz, and this isn’t the first time I’ve felt a sense of wonder during my weekend in this lesser-known city in north-eastern France. While most of us know what to expect from a city break in, say, Paris, Lyon or Bordeaux, Metz throws up surprises at every turn.

The giant feline sculpture is the work of Italian visual artist Maurizio Cattelan (of banana-duct-taped-to-a-wall fame), whose works form part of Dimanche Sans Fin (Endless Sunday), an exhibition he has curated that brings together more than 400 works from Paris’s Centre Pompidou, which closed for a five-year renovation last October. Each piece depicts a different way the “day of rest” could be interpreted, whether it’s the innocent play of Picasso’s sculpture Little Girl Jumping Rope (1950-1954) or Max Ernst’s figure playing chess in the King Playing with the Queen (1944).

TikTok calls European Commission probe ‘meritless’, pledges to challenge findings the video platform harms minors.

Authorities in the European Union said that the video-sharing platform TikTok is in breach of online content regulations, warning the company to change “addictive” features in order to protect minors from compulsive use.

The European Commission shared the preliminary conclusions of a probe into TikTok on Friday, stating that features such as infinite scroll, autoplay, push notifications, and a personalised recommendation algorithm encouraged addiction.

“TikTok has to take actions and they have to change the design of their service in Europe to protect our minors,” EU tech chief Henna Virkkunen told reporters.

European Commission spokesperson Thomas Regnier said the “measures that TikTok has in place are simply not enough”.

“These features lead to the compulsive use of the app, especially for our kids, and this poses major risks to their mental health and wellbeing,” Regnier said, stating that the app is in violation of the Digital Services Act.

The EU regulator has threatened TikTok with a potential fine of as much as 6 percent of the global turnover of ByteDance, the platform’s owner.

TikTok slammed the findings, saying they are without basis.

“The Commission’s preliminary findings present a categorically false and entirely meritless depiction of our platform, and we will take whatever steps are necessary to challenge these findings,” a spokesperson for TikTok said.

The probe comes as EU countries are seeking greater restrictions on powerful tech and social media companies, often with the stated goal of protecting young users.

TikTok stands out among competitors for an algorithm able to craft a precise understanding of the users’ interests, directing related content into their feed.

The investigation into TikTok was first opened in February 2024, with Regnier citing a series of “alarming” statistics compiled during the course of the investigation.

He stated that the app is the most-used social media platform after midnight by children between the ages of 13 and 18, and that 7 percent of children between the ages of 12 and 15 spend four to five hours on the app every day.