Home Care In Kelly, LA

Eve Hewson joined her co-star Riley Keough for the LA premiere of Netflix’s Jay Kelly, marking her first appearance on this press tour since Venice Film Festival — where she blew us all away in Schiaparelli Haute Couture.

On this occasion, she wore a Simone Rocha Spring 2026 look that I would liken to a gentle breeze — present, noticeable, but not quite stirring anything.

I’m all for conceptual fashion, and I genuinely love deconstruction when it has intention or a narrative thread. But I’m struggling to get on board with this dress. I don’t find it clever or intriguing; it doesn’t push a story forward. It simply looks like what it looks like: a wardrobe malfunction.

Maybe she’s just not selling it to me. Maybe the red carpet is the wrong backdrop for something this undone. My mind keeps drifting to someone with a more rebellious streak — Charli XCX at a music ceremony, for example — someone who could lean into the chaos and let the dress feel mischievous rather than unfinished.

But ultimately, I think I’m clutching at straws. This one just isn’t connecting, and that’s fine. Eve has delivered before, and she’ll deliver again — this just wasn’t her moment.

Stylist: Karla Welch.

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It feels like it’s been a while since we last saw Diane Kruger on a Hollywood red carpet, but she is very much back in her European era, continuing her style streak at Wednesday’s Paris premiere of Merteuil.

Her last outing — turning on the Christmas lights for Le Printemps — wasn’t exactly a crowd-pleaser among many of you, but I have a feeling this will restore the collective faith. Diane stepped onto the red carpet wearing a ruffled-collar, caged-hip, pannier-inspired dress crafted from antique Victorian lace, taken from the Erdem Spring 2026 collection. And honestly… what’s not to love?

This has everything we associate with Diane Kruger at her best. The lacework alone feels like a treasure unearthed from an attic trunk, restored and reimagined with that unmistakable Erdem finesse.

The exaggerated hips and corseted waist echo 19th-century silhouettes, yet the transparency and lightness return it firmly to a modern context. It’s romantic, sculptural and beautifully considered — exactly the lane where Diane thrives.

As for the patent leather shoes and sheer socks? They wouldn’t have been my first instinct, but they’re such a Diane-Kruger-ism that they almost become essential to the look. She always adds one detail that makes you tilt your head — and somehow, it lands.

This is the Diane many of us adore: fearless, intricate, and wholly committed to a vision.

Are you having a flashback? A case of déjà vu? That might be because of Diane’s Jean Paul Gaultier Haute Couture look worn to the 2024 César Film Awards. This Erdem dress is a much better execution.

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It’s a love story: Not just platonically between the two main characters of “Jay Kelly,” but also the stars themselves, George Clooney and Adam Sandler.

The A-Listers stopped by AFI Fest 2025 on Thursday night for the Los Angeles premiere of their Noah Baumbach comedy-drama at the TCL Chinese Theatre, where they promptly praised one another’s acting chops while sharing a bit about their real-life bond.

“It was a lot of work, I don’t mind saying. There were some tears, and that was just when we met,” Clooney joked. “Adam and I have known each other for 30 years, we’ve played a lot of basketball together, we’re buddies. But this was something very different; this was a chance to work with an actor who I greatly admire in a role that I thought he was incredible in.”

“And it’s a funny film. It’s a love story between these two guys,” he added. “It was just an honor and a blast to be able to work with Adam, he’s a wonderful actor.”

Sandler, meanwhile, extended that love to their fellow castmates, Laura Dern and Riley Keough: “Everybody here is tremendous in this movie and Noah worked so hard to make sure it was as good as it could be, with Emily [Mortimer]. We get the script, you read it, you say I can’t believe he gave me this gift. George was right, us getting to be together was amazing. I didn’t get to do anything with Riley, but I loved you in it — I think you’re great in the movie. Laura and I had a ball doing our scenes together.”

“It’s something I’ll never forget,” he concluded. “I loved getting to love this guy in the movie and trying to make his life good.”

The pair was joined at the Hollywood red carpet event by Baumbach, Ted Sarandos, Bela Bajaria, Dan Lin, Michael Nouri and his dog. This comes after the film had its world premiere at the 82nd Venice International Film Festival in August.

“Jay Kelly” hits select theaters on Nov. 14, before streaming on Netflix on Dec. 5.

Sean Kelly Gallery will no longer stage exhibitions at its Los Angeles branch, which opened in 2022. Following the end of its last final public show, on November 1, the venue will only be used for private viewings.

The New York-based outfit, whose roster includes Marina Abramovi? and Kehinde Wiley, is the latest in a long list of galleries that have recently downsized, adjusting to a contracted market. The once-promising L.A. scene has been hit particularly hard.

“As we look to the future, our focus will center on our New York flagship and our participation in major international art fairs and projects,” a spokesperson for the gallery said in a statement.

Kelly opened in New York in 1991, added a short-lived project space in Taipei in 2019, and announced the L.A. expansion in 2021. At this time, Tinseltown was a beacon of hope for the art market, attracting a wave of top international galleries, including Hauser and Wirth in 2016. The first Frieze Los Angeles arrived in 2019. L.A. was “booming as a cultural center,” Kelly said in 2021, mentioning its many artists and the promise of new collectors up in San Francisco.

In 2025, the picture is very different. Late last year, Artnet’s Katya Kazakina counted 10 galleries that had recently closed in South California. The veteran power player Blum closed its doors this past summer, shocking observers, New York’s Tanya Bonakdar Gallery also shuttered its branch there, and the veteran L.A. Louver said it would end public programming after five decades, transitioning to private dealing.

Meanwhile, in San Francisco, Altman Siegel just announced plans to close after 16 years. In a statement, its founder, Claudia Altman-Siegel, said that “it has become too difficult for a gallery this size to scale in this climate.” Gagosian departed San Francisco in 2021; Hauser & Wirth will try its luck in nearby Palo Alto next spring.

Sean Kelly’s L.A. branch was helmed by the dealer’s son, Thomas Kelly. Reports at the time of its start said that he was being encouraged to forge his own path, building a gallery that functioned independently and discovered new regional talents. It opened with a solo show by the British artist Idris Khan.

Sean Kelly’s last public L.A. show is “James Casebere and Jose Dávila: The Poetic Dimension.” In New York, the gallery will open a Mariko Mori show on October 31.

Sustainabilty

“We ferment not only for flavor, but because it's an ancient practice in Colorado. We ferment to use every part of the ingredient.” Kelly Whitaker prefers not to talk about sustainability: in her two-star restaurant, true ethics are practiced, beyond passing trends.

The name sounds like a fierce fairy tale: The Wolf’s Tailor. The wolf no longer needs to disguise himself. A predator who learns the art of sewing and finally dresses himself—without deception, without the skins of others. In the Gospel narrative, it was a warning; in Kelly Whitaker's vision, it becomes a gesture of emancipation. "The wolf doesn't have to be the villain. You can sew a new story for him. You can transform what is wild into something regenerative,“ says the Michelin-starred chef, just after the call that changed the gastronomic geography of Colorado: two stars, the first in the state's history. Whitaker wasn't expecting them. In fact, he didn't want them as a goal: ”We weren't chasing stars. We were chasing excellence." And you can tell he really means it.

As the son of a Protestant pastor and a teacher, he never believed that cooking was purely entertainment. His work is faith and rebellion, rigor and fire, ethics and raw ingredients. The Wolf's Tailor is an unusual pulpit: every service is a sermon on responsibility, a secular mass on the impact that food has on the world. Long before the MICHELIN lights, Basta—his first restaurant, in Boulder in 2010—set the course. At the time, the red guide did not look to Colorado; the local scene was just beginning to write its own identity. Whitaker fits in as an outsider: determined, curious, quietly obsessive. His professional passport took him to Switzerland, then to the island of Procida in Campania, where he discovered wood, smoke, and the ancestral pleasure of feeding others. Then came Los Angeles, in the kitchens of Hatfield's and Providence, under the wing of Michael Cimarusti, now a three-star chef. There he understood something fundamental: excellence and responsibility are not opposites. They can coexist — they must.

Back home, together with his wife Erika, he built an entrepreneurial constellation with a Latin name: Id Est, “that is.” An identity within an identity that today boasts three stars, two green stars, a Bib Gourmand, and a Recommended rating. Numbers that no other chef in the Rocky Mountain Region can claim. The Wolf's Tailor was founded in 2018 in Denver's Sunnyside neighborhood: few seats, many ideas. Initially à la carte, it then—inevitably—transformed into one of the most radical tasting menus in the nation. After the first star in 2023, the most dangerous specter entered the kitchen: habit. Whitaker can't stand it. He doesn't expand the dining room; he expands the scope. He builds a greenhouse for employees; he studies a cleaner, electric kitchen; he reformulates growth. “Customers come by a few times a year. The team lives here every day. I measure success by how much they improve.”

A revolution that also extends to pastry: together with Emily Thompson, formerly of The French Laundry, he transforms waste into treasures. Sourdough starter into fine flour for macarons as thin as a brilliant idea. Fermentation instead of easy sugar. This is haute cuisine with soul: small rebellions at the tip of technique. Whitaker abhors the word “sustainable”: “It's a worn-out term, now empty. I prefer impact.” Impact as a verb, not as a problem. The Wolf's Tailor doesn't just avoid waste: it regenerates. Dry Storage's home-ground wheat supports regional farmers. The catch follows Slow Food USA and Seafood Watch criteria. Waste becomes miso, vinegar, garum, the future. “We're not farm-to-table, we're system-to-table. We defend those who produce.” The supply chain is the dish. The dish is a political act. Again: “We ferment not only for flavor, but because it's an ancient practice in Colorado. We ferment to use the whole ingredient.”

The most intimate image of his philosophy did not originate in a Michelin-starred restaurant, but in his grandparents' tornado shelter in Oklahoma. Jars everywhere: pickled green beans, summer tomatoes preserved in time, peaches hanging for the coming year. It was there, without him knowing it, that his belief in fermentation as an act of care was born. “Back then, it was survival. Today, it's taking responsibility. The future was hidden in that basement.” The cellar is now a kitchen that has earned a Michelin star. Or rather, two. Whitaker is not getting carried away: “We are an excellent two-star restaurant. We can become a great two-star restaurant.” He is not talking about three stars. Not now. The number doesn't matter. What matters is that the wolf is proud of the skin he wears. Today's destiny is not to settle. To protect those who work. To build tools for those who will come after. To keep the flame burning where it is needed, in the most vulnerable place: ethics.