designer

To live in Los Angeles is to be a seeker. There are those who come to the city in search of the limelight and affluence. There are others who crave temperate weather and long for accessible beaches. The list goes on. Some of these desires are easily satisfied, while others are left unfulfilled or forgotten. But for those born and raised in this atypical metropolis, like Shirley Kurata, the search is never-ending.

The costume designer tells me the key to loving this city is to never stop venturing around. We sit in the shaded back patio of Virgil Normal, a 21st century lifestyle shop she owns with her husband, Charlie Staunton. She wears a vibrant pink getup — a vintage top and Issey Miyake pants — complete with small pleats and optimal for the unavoidable August heat wave. Her signature pair of black circular glasses sits perfectly on the bridge of her nose. It’s a style of eyewear she owns in several colors.

“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems,” says the stylist and costume designer, as she’s regularly on the lookout for up-and-coming creative hubs and eye-catching storefronts. “It won’t be handed to you. You have to dig.”

In one way or another, “digging” has marked Kurata’s creative livelihood. Whether she’s conjuring wardrobes for the big screen, like in the Oscar-winning “Everything Everywhere All at Once,” or styling musicians like Billie Eilish, Florence and the Machine and ASAP Rocky for photo shoots and music videos, the hunt for the perfect look keeps her on her toes.

Over the summer, Kurata spent a lot of time inside the Costco-size Western Costume Co., pulling looks for Vogue World, the magazine’s annual traveling runway extravaganza. This year, the fashion spectacle is centered around Hollywood and will take place at Paramount Pictures Studios in late October. She is one of the eight costume designers asked to present at the event — others include Colleen Atwood of “Edward Scissorhands,” Ruth E. Carter of “Black Panther” and Arianne Phillips of “Once Upon a Time in Hollywood.” Kurata will be styling background performers and taking inspiration from the invited costume designers.

Shirley wears vintage hat, Meals Clothing top, shirt and dress, We Love Colors tights, Opening Ceremony x Robert Clergerie shoes and l.a. Eyeworks sunglasses.

“[Vogue] wanted someone that is a stylist and costume designer who has worked both in fashion and film. Because a lot of costume designers work primarily in TV and film, they don’t do the fashion styling for editorial shoots,” says Kurata. “I’m coming on and working with what other costume designers have done.”

Since her start in the business, Kurata has gained acclaim for her ability to infuse daring prints and vibrant color into the narrative worlds she deals with. Her maximalist sense of experimentation took center stage in “Everything Everywhere All at Once” and earned her an Academy Award nomination for costume design. From a bejeweled Elvis jumpsuit to a look made entirely of neon green tassels meant to resemble an amoeba, her vision was avant-garde, playful and undeniably multidimensional.

When Kurata isn’t on set or in the troves of a costume house, she’s likely tending to Virgil Normal. Housed in a former moped shop, the Virgil Village store offers a selection of novelty items and streetwear treasures, curated by both Kurata and Staunton. Though Staunton jokes that he’s constantly seeking her approval when sourcing inventory: “If it’s not cool enough for her, it doesn’t come in.”

The couple first met at the Rose Bowl Flea Market through mutual friends. At first sight, Staunton recalls being enthralled by her perpetually “cool” demeanor. Early in their relationship, he even floated the idea of starting a clothing line together, just to “knock off her closet.”

Shirley wears Leeann Huang t-shirt, skirt and shoes, We Love Colors tights and l.a. Eyeworks glasses here and in photos below.

“She’s like a peacock. It’s not like she’s trying to get attention. But she has her own vision and doesn’t really care what’s going on. She knows what’s cool,” says Staunton, who cites Kurata as the biggest “inspiration” for the store.

Inside the quaint red brick building, blue L.A. hats are embroidered to read “Larry David,” acrylic shelves are packed with Snoopy figurines (for display only), trays of l.a. Eyeworks frames fill the tables and each clothing tag is a different elaborate doodle illustrated by Staunton. He adds that everything in the store is meant to have a “rabbit hole” effect, where shoppers can give in to their curiosities.

“We wanted a place where like-minded people could come here and have it be a space to hang out. They don’t have to buy anything,” says Kurata. The attached patio is complete with a mural of a man floating in space, pipe in hand, and the coolers are still filled with chilled beers and sparkling waters from their most recent get-together. She tells me about how many times they’ve allowed musicians and artists to transform this peaceful outdoor space into a lively venue.

“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,” she shares. “Having this store has been one of the most fulfilling things that I’ve done, and it’s not like we’re not making a ton of money off it.”

From the cactus out front, which Kurata and Staunton planted themselves, to grabbing lunch at the taqueria down the street, she explains cultivating a space like this and being an active part of the neighborhood has made her into a more “enriched person.” Kurata, who is of Japanese descent, brings up the lesser known history of East Hollywood. In the early 1900s, the neighborhood, then called J-Flats, was where a sizable group of Japanese immigrants settled. It was once a bustling community with Japanese boarding houses that offered affordable rent and home-cooked meals. Today, only one of these properties is operating.

“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,”

For Kurata, being a part of this legacy means trimming the nearby overgrown vegetation to keep the sidewalks clear and running over to the locally owned convenience store when Virgil Normal needs supplies, instead of immediately turning to Amazon. She pours everything she learned from being raised in this city back into the store, and in turn, its surroundings.

Kurata was born and raised in Monterey Park, a region in the San Gabriel Valley with a primarily Asian population. The neighborhood is a small, homey stretch of land, known for its dining culture, hilly roads and suburban feeling (but not-so-suburban location). These days, she’ll often find herself in the area, as her mother and sister still live there. Together, they enjoy many of the surrounding dim sum-style restaurants.

Even from a young age, she was encouraged to treat the entire city as her stomping grounds. She attended elementary school in the Arts District, which she describes as quieter and “more industrial than it is today.” She also spent a lot of her childhood in Little Tokyo, shopping for Japanese magazines (where she found a lot of her early inspiration), playing in the arcade and grocery shopping with her family.

Shirley wears Leeann Huang lenticular dress and shoes, Mary Quant tights and l.a. Eyeworks sunglasses.

For high school, she decided to branch out even further, making the trek to an all-girls Catholic school in La Cañada Flintridge. “It was the first time where I felt like an outsider,” Kurata says, as she had only previously attended predominantly Asian schools. She laughs a little about being one of the rare “Japanese Catholics.”

“When you’re raised in something, you go along with it because your parents tell you, and it’s part of your education,” Kurata says. Her religious upbringing began to reach a point where she wasn’t connecting with it anymore. “Having that sort of awakening is good for you. I was able to look at myself, early in life, and realize that I don’t think this is for me.”

Her senior year, she discovered vintage stores. (She always knew that she had an affinity for clothing of the past, as she gravitated toward hand-me-down Barbies from the ’60s.) Her coming-of-age style consisted of layering skirts with other oversize pieces — and everything was baggy, “because it was the ’80s.” With this ignited passion for vintage and thrifting, Kurata began to mix items spanning across decades into one look.

“All the colors, the prints, the variety. It just seemed more fun. I would mix a ’60s dress with a jacket from the ’70s and maybe something from the ’40s,” says Kurata. It’s a practice that has remained a major part of her creative Rolodex.

Her lifelong interest in fashion led her to get a summer job at American Rag Cie on La Brea Avenue. At the time, the high-end store primarily sold a mix of well-curated timeless pieces, sourced from all over the world. It was the first time she encountered the full range of L.A.’s fashion scene. She worked alongside Christophe Loiron of Mister Freedom and other “rockabilly and edgier, slightly goth” kinds of people.

“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person. It’s the best thing I ever did.”

“Time moved really slowly in that place. But just the creativity that I was around, from both the people who worked there and shopped there, was great exposure,” says Kurata, who recalls seeing faces like Winona Ryder and Johnny Depp browsing the selection and Naomi Campbell and Christy Turlington trying on jeans.

Kurata continued her L.A. expedition to Cal State Long Beach, where she began her art degree. It wasn’t long before Studio Berçot, a now-closed fashion school in Paris known for its avant-garde curriculum, started calling her name.

“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person,” says Kurata. “It’s the best thing I ever did.”

Her Parisian studies lasted around three years and it was the closest she had ever gotten to high fashion. Sometimes, she would be able to see runway shows by selling magazines inside the venue or volunteering to work backstage. Other times, she relied on well-intentioned shenanigans. She used to pass around and reuse an invitation within her group of friends. She once snuck in through a large, unattended hole in a fence. In one instance, she simply charged at the entrance when it began to rain. All things she did in the name of fashion.

“I would just do what I could to see as many shows as possible. All of the excitement is hard to explain. When I worked backstage, there’s this labor of love that’s put towards the show. It’s this contagious energy that you could feel when the models start coming,” says Kurata, who saw everything from Jean Paul Gaultier to John Galliano and Yves Saint Laurent. When she was backstage for a Vivienne Westwood show, she recollects seeing this “shorter model, and thinking, ‘Oh, she’s so tiny,’ and then realizing that it was Kate Moss who was still fairly new at that point.”

“We wanted a place where like-minded people could come here and have it be a space to hang out. Having this store has been one of the most fulfilling things that I’ve done.”

Staying in France was intriguing to a young Kurata, but the struggles of visas and paperwork deterred her. She instead returned to L.A., freshly inspired, and completed her bachelor’s degree in art (to her parents’ satisfaction). She didn’t plan to get into costume design, Kurata explains. But when it became clear that designing her own line would require moving to somewhere like New York or back to Europe, she realized, “Maybe fashion is not the world I want to get into; maybe it’s costumes.”

“I felt comfortable with that decision,” shares Kurata. “I do love film, so it was just a transition I made. It was still connected [to everything that I wanted to do].”

Without the aid of social media, she sent letters to costume designers, hoping to get mentored, and started working on low-budget jobs. She quickly fell in love with how much the job changed day-to-day. On occasion, there are 12-hour days that can be “miserable,” but her next job might be entirely different. One day she’s styling the seasonal campaigns for her longtime friends Kate and Laura Mulleavy, owners of Rodarte, and the next she could be styling for the cover of W Magazine, where a larger-than-life Jennifer Coolidge stomps through a miniature city in a neon polka-dot coat.

Whenever Kurata takes on a project, Staunton says she “just doesn’t stop.” Sometimes, he’ll wake up at 3 in the morning and she’s emailing people in Europe, attempting to hunt down a rare vintage piece. Her passion is the kind that simultaneously consumes and fuels her.

“There’s a lot of times [with her work] where I’m like, ‘That’s just straight out of Shirley’s closet.’ It’s not like she has to compromise. It’s something she would wear herself. She doesn’t have to follow trends,” explains Staunton. “People seek her out, because she has such a unique vision.”

“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems.”

Kurata thinks of herself as “someone who gets bored easily.” It’s a quality that’s reflected in her eclectic style, busy travel schedule, Virgil Normal’s constantly changing selection and even the common feeling she gets when she’s sick of all of her clothes. It’s a good thing being bored and being in Los Angeles don’t go hand in hand.

I ask Kurata a somewhat daunting question for a born-and-bred Angeleno.

“Do you think you could ever see yourself calling another place home?”

She lets out a deep sigh and tells me it’s not something she’s closed off to. Though, she takes a moment to reflect on how everyone came together to provide support during the Palisades and Eaton fires earlier this year. Or how good it feels when they have events at Virgil Normal, to be surrounded by a diverse group of creative minds “who don’t judge.” She even thinks about how she currently lives in a Franklin Hills house, a neighborhood she never thought she would be able to afford.

Time and time again, Kurata and this sprawling city-state have looked out for each other. From the way she speaks of different areas with such an intrinsic care, to showcasing her unique creative eye in Tinseltown, L.A. has made her into a permanent seeker. Whether she chooses to stay in Franklin Hills for the rest of her life or packs up everything tomorrow, she’ll always keep an eye out for hidden gems — just like at the flea market.

PREGNANT Rihanna shows off her baby Flump — sorry, bump — in a bonkers outfit the colour of the marshmallow treat.

The singer, 37, was seen out and about in Los Angeles in a pink and orange dress.

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And the Barbadian star’s vintage 2001 Issey Miyake frock cost a lot more than the sweets — at just over £2,100.

Rihanna, expecting her third baby in weeks, is no stranger to confectionery-themed fashion, wearing a Haribo Heart Throbs-style red dress in 2016.

The pregnant star also showed off her huge bare baby bump while going out for dinner in LA at her favorite eatery.

The business mogul, who announced her pregnancy earlier this year, looked ready to pop.

Stepping out to head for dinner at her favorite Italian restaurant, Giorgio Baldi, Rihanna put her bump on display.

Giorgio Baldi is a “luxurious family-run Italian spot near the ocean” which serves seafood and pasta.

While heading out for food at the spot, Rihanna looked sensational in a navy suit, sheer mesh bra and polka dot tie.

The mother-of-two wore her navy blazer open at the front, with her bump showing.

She wore her hair slicked back, and kept her makeup natural and soft, yet glamorous.

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DID you know there are rainforests in Britain? Nope – me neither.

But you may well have visited one without realising if you’ve holidayed in Cornwall, Wales or along the Atlantic Coastline.

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Especially if you remember walking through green woodland packed with ferns, moss and lichen – with a really memorable earthy, damp scent.

They once covered more than 20 per cent of the UK – but history devoured them – and now there’s less than one per cent.

So the Wildlife Trust, sponsored by Aviva, has just launched an epic 100-year restoration project to bring them back.

The temperate rainforest restoration programme will restore approximately 1,755 hectares of temperate rainforest across the British Isles. 

Some of the new sites created through this programme include Bowden Pillars in Devon, Bryn Ifan in North Wales, Creg y Cowin and Glion Darragh on the Isle of Man, Trellwyn Fach in Pembrokeshire, and – most recently – Skiddaw in Cumbria.

Garden Designer Zoe Claymore, won a silver gilt medal at RHS Chelsea for her British Rainforest Garden.

She told me: “I didn’t know it at the time – but I played in a British rainforest as a child. The end of my grandparents garden in Devon went into Lidford Gorge which is one of the last existing rainforests.

“In the UK they’re found in the Goldilocks zone – not too hot, not too cold – and by rivers, gullies and gorges, because you also need the moisture from the river creating that ecosystem.”

But there are ways of recreating one in your own garden, she said.

“Even if  you don’t live in an area suited to creating a rainforest there’s other plants that will create the same vibes.

“Create shade with Hazels – they’re a great small tree which gives a real native-feel and perfect for small gardens. Or include hollies, birch or willows.

“Create a water feature – from a little stream with a few rocks or simply as an old-school rock water bowl – to  create that sense of humidity.

“But even if you just did a pond in a pot surrounded by some fun little logs, that will create habitat, that will bring wildlife, and it will create that kind of feeling of rainforest-y wetness.”

It’s easy to make a home made pond – using old washing up bowls. Tesco’s are currently selling one for just £2.75.

First choose a spot that’s sunny but not in direct sunlight all day – otherwise the water will evaporate.

Then all you have to do is put some logs around it, and a few stones, so wildlife can climb in and out easily – almost like a ramp.

Ideally fill it with rain water rather than tap.

And then put in about three water plants – like mini water lillies or water forget-me-not and sit back waiting for the wildlife.

Zoe added: “Then use British classic woodland plants and really focus on ferns – the unsung beautiful heroes of shade gardening – as well as bluebells, foxgloves, primulars, ivy, bananas and – if you’ve got a wet area – moss – which is the jewel in the crown – so your garden will be green all year round.”

For a ‘how to’ guide adapted to all UK gardens – as well as a rainforest-inspired pot combination  – head to www.zoeclaymore.com – and a share of the proceeds will go the Wildlife Trust.

Also in Veronica’s Column this week…

Gardening tips, news, plant of the week and a competition to win a garden border worth £195

PLANT OF THE WEEK! Dierama Wind Nymph Pink – pictured above – clump forming perennial with slender arching stems with soft pink blooms and evergreen foliage. Bees love it. Plant in direct sunlight, likes well drained soil but might need protection in Winter.

NEWS! A dad’s 60-year-old lawnmower has taken its place in gardening history as the UK’s oldest Flymo – after he read a plea in Sun Gardening. 

Pete Goddard’s monumental mower was inducted into the British Lawnmower Museum in Southport, Merseyside, last week after Flymo sent out a request for old mowers. 

The rare blue Flymo was unveiled last month – taking its place in the museum alongside King Charles, Brian May, and Nicholas Parsons’ former mowers.

It came after a nationwide search for the UK’s oldest Flymo to celebrate 60 years since the iconic hover mower was invented.

The 79-year-old retired Highway Maintenance Operative’s Flymo was originally bought in the 1960s by his father-in-law and lovingly maintained across three generations – and still works today.

NEWS! Great Comp Gardens will show off some salvias not released to the general public before – at it’s  annual Summer Show next weekend. 

The seven acre garden in Platt, near Sevenoaks will be at it’s best – with the hot and cool border in bloom, salvias bringing swathes of colour to the perennial borders and the Italian Garden in full flower in time for their annual two-day flagship event. 

The weekend event features a group of talented artists, craftspeople, award-winning nurseries and garden ornamental suppliers plus live jazz bands on the lawn.

Curator William Dyson says: “We can’t wait to share the garden with our Summer Show visitors – it looks particularly splendid in August with the salvias in full flow.

“We’ve also introduced lots of new and interesting plants to the garden this year including a collection of new world salvias that we’ve inherited from Lindsay Pink (a collector in Portsmouth) that people won’t have seen before. 

“We urge people to come along and see our revamped planting schemes which help to showcase new salvias that we have been keeping under wraps until now. There are salvias that I’ve only seen once before and can’t wait to show people. We are mixing in drifts of South American annuals like Cosmos for interest and colour and Tagetes erecta (Mexican marigolds) plus lots of varieties of dahlias.”

For more info visit www.greatcompgarden.co.uk

WIN! Garden on a Roll – which provide ready-made garden border paper templates, and the plants to put them in – are offering three £195 borders at 3m x 60cm of any style – including the  ‘Wildlife border’ for bees and butterflies. To enter visit www.thesun.co.uk/GardenBorders, or write to Garden on a Roll competition,  PO Box 3190, Colchester, Essex, CO2 8GP. Include your name, age, email or phone. UK residents 18+ only. Entries close 11.59pm. August 16, 2025. T&Cs apply

JOB OF THE WEEK! Stake your dahlias, trim your lavenders, take fuchsia cuttings, prune climbing and rambling roses, add tomato food to corn and peppers.

For more gardening content follow me @biros_and_bloom

Martin Frizell, the husband of former TV presenter Fiona Phillips, has been sharing heartbreaking updates about her battle with Alzheimer’s

The husband of Fiona Phillips has revealed that the former TV presenter has not cooked in years and has no time for her dressing room of designer clothes as she battles Alzheimer’s.

Martin Frizell said all his wife’s favourite hobbies and interests are now gone – she has not cooked in two years and wears the same T-shirt and trousers every day.

He asked The Telegraph: “What do I do with all these clothes?” And of her previously beloved cookery books, which now lay piled in the basement: “Do I take them to the dump?… She’s never going to open one again.”

But he’s determined not to let her favourite interests – of looking glamorous and eating delicious food – to completely disappear and he regularly helps her to get her hair coloured and nails done.

And he said the best thing his friends could do is to cook for them, leaving something on the doorstep, reports MailOnline.

The ex-GMTV host, 64, was diagnosed with the brain disorder in 2022, aged just 61. It came after she left the former ITV breakfast show in 2008 to care for her father, who suffered from it too, and died in 2012. Her mother also passed away from the disease in 2006.

Martin, 66, left his job as Editor of ITV’s This Morning after 10 years in February to care for Fiona. She has now written a memoir, Remember When: My Life With Alzheimer’s, with the help of her husband and journalist friend Alison Phillips, about her diagnosis.

Ahead of its release on July 17, Martin has now spoken out about some of the most heartbreaking impacts of the disease, which is the most common cause of dementia. There is currently no cure but there are medicines which can somewhat alleviate symptoms.

Martin, who married Fiona in 1997 and shares two children, Nathaniel, 26, and Mackenzie, 23, with her, started by contributing a few paragraphs to his wife’s memoir but ended up generating more than 24,000 words.

He recalled when she was diagnosed and given a leaflet on living with the disease that had a old couple with a Zimmer frame on it. It completely jarred with how young she was, having only just turned 61, Martin said: “She was wearing skinny jeans and high-heeled boots. This was a degenerative disease for old people like the ones on the leaflet,” he said.

The couple first put her symptoms – brain fog, social withdrawal, mood swings, depression and anxiety – down to the menopause.

His wife has always been active – so Martin wondered if her diagnosis could have been caused by stress.

At one point, during her turn on GMTV from 1993 to 2008, she was starting work at 3am, taking part in Strictly Come Dancing, bringing up her young sons, and caring for her parents, who lived far away in Wales.

But he also thought it could be their lifestyle in their younger years – which saw them regularly drink a bottle of wine each every night.

Martin, who has also edited GMTV and Loose Women, now cares for her full-time at their home in London. He revealed she has declined considerably over the last 12 months, needing help with basic tasks like brushing her teeth, developing more confusion, pain, delirium and psychosis and mostly staying inside

Martin appeared on This Morning on Friday, July 11 to tell hosts Alison Hammond, 50, and Dermot O’Leary, 52, about his wife’s progress.

He shared how challenging family life has been since Fiona’s diagnosis three years ago.

He said: “In the book, there’s a picture of her at the end of our road, the most recent picture I took, only a few weeks ago.

“And she’s looking great and she’s smiling and she’s got her coat on. And what you don’t know is she thought I’d kidnapped her. This was us going out.

“Because you get delusions because you get so worked up. She keeps saying, ‘I want to go home’.”

Asked by Alison if she still recognises him, he said: “She does recognise me most of the times. Doesn’t quite know that I’m her husband but she knows who I am.”

This Morning is on ITV1 weekdays at 10am and ITVX

What would a baseball team in Los Angeles want from a retired artist and designer in New York?

Janet Bennett wasn’t sure.

Generations of Angelenos are familiar with her signature project. You probably have walked right past it. Those colorful tile mosaics that decorate the long corridors toward baggage claim in five terminals at Los Angeles International Airport? She designed them.

You might have seen them in the movies or on television: “Airplane!,” “Mad Men” and “The Graduate,” just for starters.

You might have memorized the trivia: When you passed the red tiles, you were halfway down the corridor. “Red means halfway” was shorthand for locals in the know, just like “E Ticket” or “the #19 sandwich.”

“It just says L.A. in so many ways,” said Janet Marie Smith, the Dodgers’ executive vice president of planning and development.

For the clubhouse walkway, Dodgers executive vice president of planning and development Janet Marie Smith and architect Brenda Levin opted for multiple shades of blue tiles.

(Robert Gauthier / Los Angeles Times)

The Dodgers wanted to get in touch with Bennett because they were about to install a similar tile wall at Dodger Stadium. Smith could not find Bennett, but she reached out to someone who had liked an article about Bennett that had been posted on LinkedIn. Same last name, same spelling. Smith crossed her fingers.

Turned out to be a relative of Bennett. The Dodgers sent some sketches of their project and asked Bennett for her thoughts.

“I was a little disappointed I didn’t work the project,” Bennett said over the telephone, chuckling, “but I don’t think I could have done it at this stage.”

“Once we got tile in our head, how could you not think of the LAX walls?” said Janet Marie Smith, the Dodgers’ executive vice president of planning and development.

(Robert Gauthier / Los Angeles Times)

Bennett is 96, happily living one block from Central Park. The LAX project was completed in 1961 — the year before Dodger Stadium opened.

What the Dodgers really were offering was the recognition denied to Bennett six decades ago.

“I realized they just wanted my blessing,” Bennett said. “They wanted the connection. And that was very satisfying.”

And, yes, she had some thoughts for the Dodgers. She wrote them a letter by hand, the old-fashioned way. The letter got lost in the old-fashioned mail, but Bennett’s daughter had thought to take a picture of the letter, and she sent it to the Dodgers via email.

Bennett’s advice for the colors of the tiles?

“Don’t limit it,” she wrote, “to the Dodger blue.”

On game days, Dodgers players take an elevator to the lowest level of Dodger Stadium. As they exit, they look to their right to see the Dodgers’ World Series championship trophies and most valuable player awards, to their left to see the Gold Glove awards.

When they turn toward the clubhouse, they see Cy Young and Silver Slugger and manager of the year awards on the right, rookie of the year awards and then the Dodgers’ retired numbers on the left.

“It’s meant to be uplifting and motivating, and a reminder to everyone — our players included, who take that path — of what a storied franchise this is,” Smith said.

The fans in the fanciest seats, the ones you see on television right behind home plate, can take that path too — but only until they reach the double doors, the ones with “DODGERS CLUBHOUSE” painted above them.

Pass through those doors, and you used to see a gray wall decorated with signage pulled from storage — signs from events held at Dodger Stadium long ago, and others commemorating milestone seasons. As part of the clubhouse renovations last winter, Smith and her team imagined how to freshen up that walkway.

“We wanted to try to get it out of its funk of just being a concrete wall,” she said. “And, once we got tile in our head, how could you not think of the LAX walls?”

Tile mosaic wall designs line departure halls in various LAX terminals.

(Robert Gauthier / Los Angeles Times)

The Dodgers’ clubhouse features a tile wall “in the hydrotherapy area,” Smith said. The tiles there are all Dodger blue.

For the clubhouse walkway, Smith and architect Brenda Levin opted for multiple shades of blue tiles, interspersed with white tiles — a decision reinforced when they received Bennett’s suggestion to go beyond Dodger blue. The wall includes more than 714,000 individual tiles, Smith said.

“I think they did an excellent job,” Bennett said. “They got the rhythm of vertical stripes, which has a very athletic look.”

To Smith, a fierce advocate of sports venues reflecting their host cities, the tile wall reflects home.

“In many ways, that is a symbol: not just of L.A., but of ‘Welcome to L.A.’ ” she said. “That felt right to us.

“It’s not screaming at you. But, if you know, you know. We’ve always wanted that area to feel like a ‘Welcome to L.A.’ to our players.”

If you know, you know, but the players may not know. Dave Roberts, the Dodgers’ manager, said he did not know the story behind the wall until Smith explained it to him.

“It’s a great little touch,” Roberts said.

Smith said players and team executives have asked about the wall. Many of them did not know about the LAX walls, but she understood why.

“They don’t fly commercial,” she said.

If you merit an obituary in the newspaper, the first sentence generally includes your claim to fame. In 2007, The Times published an obituary with this first sentence: “Charles D. Kratka, an interior designer and graphic artist whose Modernist projects included the mosaic walls in tunnels at Los Angeles International Airport, has died.”

Said Bennett: “I just about freaked out.”

After Bennett had finished the LAX mosaics, she left town. By the time the airport unveiled them, she said, she was in Latin America. Until she saw that Times obituary, it had not occurred to her that anyone else might have gotten the credit for the LAX project.

In the obituary, the airport historian credited Kratka with the design, and so did the director of volunteers at the airport museum. In 2017, so did an official LAX document: “Completed in 1961, Charles Kratka’s mosaic murals have become iconic symbols of Los Angeles International Airport.”

At the start of the Jet Age, when airplane travel was a glamorous affair and even passengers in the cheaper seats enjoyed in-flight meals served with silverware, Bennett said the murals were designed to evoke the wonder of a cross-country trip: blue for the ocean at each end of the corridor, and in between green for the forests, and yellows, oranges and browns for farmland, prairies and deserts.

Tile mosaic wall designs line departure halls in various LAX terminals.

(Robert Gauthier / Los Angeles Times)

Bennett freely admits that Kratka was involved in the project. The city hired Pereira and Luckman as architects for the LAX expansion, and Kratka was the firm’s head of interior design.

“He was my boss,” Bennett said.

Bennett said the mosaic design was hers, although she said she did not recall whether she had chosen to use glass for the tiles.

“Everything from that point on was mine,” she said.

Bennett and her family have pushed for LAX to recognize her as the designer. Airport officials acknowledge Bennett’s participation in the project but, amid a search for records from six decades ago and without Kratka to provide his version of events, they believe a conclusive determination would be difficult. And, back in the day, credit was more commonly attributed to a firm rather than to an individual designer.

When I asked for a statement saying whom LAX currently credits with the design, an airport spokeswoman said, “LAX has no official comment.”

In 2017, Design Observer investigated and ultimately supported Bennett’s claims, citing two primary findings: one, an acclaimed designer of the same era “vividly recalls Bennett doing the murals,” and, two, Bennett installed similar tile murals for two Bay Area Rapid Transit (BART) stations in San Francisco.

That was good enough for Smith and the Dodgers.

At LAX, there is no sign crediting anyone — not Bennett, not Kratka, not Pereira and Luckman, not anyone else — for the murals. However, the Dodgers have given Bennett her due at Dodger Stadium, on a sign directly across from their tile wall.

“This mosaic wall draws inspiration from architect Janet Bennett’s iconic mosaic murals at Los Angeles International Airport,” the text begins, “that transformed a transit space into a work of art.”

A FLASHY crime lord was snared for a murder plot and major cocaine smuggling racket by his clothes and tattoos featured in selfies he posted from Dubai.

Drug baron James Harding, 34, masterminded a drug empire which made £5 million in profits during a 10-week period.

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But the vain villain took selfies of himself posing shirtless in front of the mirror flexing his muscles and sitting in supercars while living a life of luxury in the desert kingdom.

Harding sent the photos and messages about his opulent lifestyle to criminal cronies on the EncroChat encrypted mobile phone system believing it was totally secure.

But the swaggering poser’s boasts rebounded on him when the communication network was infiltrated by cyber cops in 2020.

Messages uncovered Harding’s cocaine empire – and his plan to rob and kill a rival drug courier.

Harding was yesterday convicted at the Old Bailey of conspiracy to supply class A drugs and of conspiracy to murder following a heavily-guarded eight-week trial.

His right hand man Jayes Kharouti, 39, earlier admitted the same drug offence and was also found guilty of the murder plot.

Jurors heard how Harding used the EncroChat handle ‘thetopsking,’ while Kharouti went under the tags ‘besttops’ and ‘topsybricks.’

They sent 9,136 messages to each other via EncroChat between March and June 2020, detailing their vast shipments of cocaine from the Netherlands into the UK, where it was distributed across the country.

The pair spelled out how they were laundering their money – as every message was read by Scotland Yard detectives following the penetration of the EncroChat platform by French law enforcement.

Harding, originally from Alton, Hampshire, and his lieutenant Kharouti were making £70,000 every day during the period their phones were being hacked by cops, jurors heard.

Prosecutor Duncan Atkinson, KC, said the pair were responsible for “approximately 50 importations of cocaine into the UK with a total weight of approximately 1,000 kilograms.”

He went on: “The messages also show that once the cocaine was in the UK, it was broken into smaller parcels, of between 5kg and 10kg, and distributed across the UK to wholesale purchasers, who would then sell to end users.

“An analysis of the messages that discuss money and financial gain suggests that the conspirators made £60-70,000 per importation, and about £5m in profit overall in just 10 weeks.”

The messages also revealed how Harding and Kharouti tried to hire a hitman for £100,000 to rob and kill a drug mule.

They arranged a gun and ammunition for a hitman to carry out the “full M” – murder, jurors heard.

Cops moved in and arrested the alleged hitman before the contract murder could be carried out.

Harding claimed in court he was not the EncroChat user known as ‘thetopsking’ – and claimed the handle belonged to a mystery gay lover he identified in court only as ‘TK.’

But cops were able to prove Harding was the ‘thetopsking’  because of his love for selfies and boasts about his luxury lifestyle.

A phone seized from an associate had a video showing Harding in the driver’s seat of a £2.5 million Bugatti Chiron car with a tattoo on his leg clearly visible.

There were pictures of him living it up in his lavish villa at The Nest development in Dubai, with floor-to-ceiling glass windows, a swimming pool and rooms for maids and drivers.

Harding lived there with Liverpudlian girlfriend Charli Wylde, 33, and her daughter Milly-Mai, 15, who he treated as his own.

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The court heard that on May 6, 2020, EncroChat user ‘thetopsking’ boasted to pals how he was taking his “Mrs” out that evening to Zuma, an award-winning Japanese restaurant in Dubai.

Investigations found that two days earlier Harding made the booking from a personal email account.

And eight days later ‘thetopsking’  boasted in messages how he was staying at the five-star Waldorf hotel in Ras Al Khaimah, UAE, and sent an image of the hotel pool area via EncroChat.

Mr Atkinson said: “Enquiries with the Hilton Hotel Group showed that Harding stayed at the Waldorf Astoria in the United Arab Emirates and gave (his) mobile telephone number and produced a UAE identification card.

“During the stay, thetopsking had sent an image of James Harding relaxing on a sun lounger at, of all places, the Waldorf.”

One March 26 2020, thetopsking also wrote a message about how he had got back a Lamborghini Urus and sent an image of the dashboard.

Mr Atkinson said: “The person who took the image caught their leg in the photograph, and on that leg is a tattoo which matches the tattoo on James Harding’s leg.”

Kharouti’s home in Epsom, Surrey, was searched in 2020 after he was linked to the messages.

Police found a handset with the same number he gave to Harding.

He fled the country before being found in Turkey and extradited back to the UK.

Harding was arrested on 27 December 2021 at Geneva Airport, Switzerland, and from there Switzerland to the UK the following May.

The pair will be sentenced on Thursday.

Met Detective Chief Inspector Jim Casey,  said: “This conviction sends a clear message – no matter how sophisticated the methods, criminals cannot hide behind encrypted software.

“This operation dismantled a major supply chain and is a testament to the relentless work of our officers.

“We monitored their drug-dealing activity but then we saw the group discussing the contract killing of a rival.

“We moved fast to protect those in danger.”

“Harding and Kharouti planned to kill, we stopped that and put them before the courts.”

Harding was previously jailed for nine years when he was aged 21 for running a drug racket.

Previously, Calvin Crump, 29, of Redhill, Surrey, was jailed for 13 years and six months while Khuram Ahmed, 38, of Slough, Berkshire, got 15-and-half-years after admitting conspiracy to smuggle cocaine.

Peter Thompson, 61, of South-West London, received 21 years after he  pleaded guilty to the  same drug charge and  possessing a pistol.

A man alleged to have been the gang’s proposed hitman was cleared.

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SALT LAKE CITY — The 39-year-old man shot and killed at a weekend “No Kings” protest in Salt Lake City was a successful fashion designer and former “Project Runway” contestant who devoted his life to celebrating artists from the Pacific Islands.

Arthur Folasa Ah Loo was killed when a man who was believed to be part of a peacekeeping team for the protest shot at a person brandishing a rifle at demonstrators, accidentally striking Ah Loo. Ah Loo later died at a hospital, authorities said.

Detectives don’t yet know why the alleged rifleman pulled out a weapon or ran from the peacekeepers, but they charged him with murder and accused him of creating the dangerous situation that led to Ah Loo’s death, Salt Lake City Police Chief Brian Redd said at a Sunday news conference.

The “self-taught” fashion designer from Samoa, known to many as Afa, was deeply connected to his culture and community, according to the website Creative Pacific, a nonprofit organization he co-founded to support artists from the Pacific Islands. Ah Loo’s designs, which often featured colorful geometric patterns, were inspired by his Samoan heritage.

Ah Loo leaves behind his wife and two young children, according to a GoFundMe for his family that raised over $100,000 in 48 hours.

He was a founder of Utah Pacific Fashion, an organization that celebrates artistic heritage from Oceania. Recently, he designed a garment for the star of the Disney Channel animated movie “Moana 2,” Hawaiian actor Auliʻi Cravalho.

Cravalho wore the outfit to the film’s red carpet premiere in Hawaii in November. She said in an interview with Vogue at the time that the design combined traditional and modern aesthetics from her culture. Ah Loo strung individual white dovetail shells into a cape-like shape reminiscent of Hawaiian ʻahu ʻula — a feather cloak worn by ancient Hawaiian royalty, according to Vogue.

“This was the first time I was so active in helping to design a custom look, and Afa surpassed what I had envisioned,” Cravalho told the magazine at the time.