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Alohas Lands in Los Angeles With Its First West Coast Store

Alohas Lands in Los Angeles With Its First West Coast Store

Barcelona-based footwear brand Alohas — the creator of those viral flats all over your FYP — has opened its first Los Angeles location at 1410 Abbot Kinney Blvd. in Venice, marking another step in its U.S. expansion after entering the market with a New York City store in 2025. The footwear label also has locations in London, Paris, Copenhagen, Milan, Amsterdam, Barcelona and Madrid.

Founder and CEO Alejandro Porras told Fashionista that L.A. has always been one of Alohas’ strongest markets, so a brick-and-mortar store made sense. “We believe retail should follow where the community already exists,” he said via email. “Beyond that, L.A. is one of the world’s leading cultural references for fashion and style. Being present there is an important milestone as we continue building Alohas into a global brand.”

Of course, there’s also the fact that Angelenos love a comfortable shoe, especially one that’s more “sustainably” made (more on that in a moment). “The L.A. customer has an effortless approach to style,” Porras continued. “They value fashion that feels elevated but easy to wear, and they’re constantly looking for new brands with a strong point of view.”

The brand specifically chose Abbot Kinney Blvd. in Venice for its foot traffic and eclectic shoppers. “Venice has a unique mix of locals, creatives and international visitors that feels very aligned with Alohas,” Porras said. “It also offers something that’s rare in LA: real walkability and strong street traffic, more reminiscent of European shopping streets. That creates a more natural retail experience and allows us to connect with customers in a way that feels authentic to our brand.”

Photo: Courtesy of Elizabeth Denton

In keeping with that authenticity, the store operates a bit like a showroom in that only a handful of shoes on display are in stock and available to take home — that’s due to the brand’s sustainability initiatives. Alohas operates on a demand-driven production model, releasing styles in three different categories and corresponding pricing tiers: “on-demand,” “pre-order” and “in stock.”

“On-demand” or pre-production shoes are priced 30% below in-stock items. That might seem confusing because you’re getting a discount before the footwear is made — but that’s the point. Customers who purchase “early” receive this discount, allowing the brand to gauge demand and produce closer to actual sales. The goal is to reduce excess inventory and waste. It can take eight to 10 weeks for shoes to arrive. (The brand manufactures primarily in Spain and Portugal, though it has recently expanded some production to Cambodia as it scales.)

In the second category, “pre-order,” production has begun on the shoes, and those are 15% off. It’s about the same shipping time, though some are available a little sooner. Finally, “in stock” items are, well, in stock, and those are full price. You can leave the store with them right away, or get them delivered in 24 to 48 hours.

The model is not just shoe-to-shoe but also color-to-color. For example, the ultra-viral Rosalind Ballet Flats ($195-$225) are available now in Brown, Black and Vintage Effect Brown, but shoppers can pre-order new colorways and textures, including Studs, Patent Brown and Mesh Black. The brand’s first handbag, the Hilma Leather Bag ($290-$350), is also available to pre-order in six colors and three sizes.

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While Alohas is calling the Abbott Kinney store a “pop-up”, we’re told it’ll be open for at least a year. The prime location bodes well: It’s on one of L.A.’s busiest, most shopping-heavy streets alongside footwear brands On, Veja, Adidas Originals and Birkenstock, as well as clothing labels Rag & Bone, Todd Snyder, Alo, Madewell, Everlane, Farm Rio and Vince.

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class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><em>This interview has been edited and condensed.</em></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><strong>You’ve made so many films about grief. What have you learned about processing grief through making all this work?</strong></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">What have I learned about grief? I think it’s that everyone experiences it differently. It’s very diverse. And when I made my first film, <em>Maborosi</em>, that was exactly about grief. And that was around the time that I read books by Elisabeth Kübler-Ross, books on grief work. And I learned about the process of grief work and used that as a kind of framework for the film. However, it’s not as if grief linearly follows a specific process. So I would say that I’ve learned that it varies from person to person.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><strong>In </strong><strong><em>Sheep in the Box</em></strong><strong>, memories become information. There was something about that that felt a little unsettling or cold for me. How did it fit for you? How did it work for you?</strong></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">I’m not sure I’ve been able to arrive at this fact through this film, but as I was filming, one thing that I was thinking about was that the memories that are input into the humanoid Kakeru are preselected by his parents. So it’s not really the same as memory as we experience it. It’s preselected data. I think that once memory is severed from our physical form, what we experience inside as memory, it’s not the same. It’s not the same when it’s input as data. It’s not the same as the things that we recall that stir up the emotions that make us human.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><strong>There’s so much noise about AI in our world right now. What made this theme feel so urgent for you to tackle?</strong></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">In Japan, there’s a tremendous increase in various initiatives involving AI. When you get in the taxi, there’s a screen that’s constantly telling you of all these commercials for raising your rate of productivity through AI. But I was interested in the rise of AI used toward a kind of grief work. Just a few years ago in Japan, a famous singer who had died was re-created through AI and then was singing a new song. I also heard about in Korea a young girl who had passed away being re-created through AI for processing the grief of the parents.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">And then in the film, what started as a seed for the film was the businesses that are being generated in places like China where AI is being used to re-create people who have passed. I wouldn’t call myself an expert on grief, but as a person who’s made many films around grief, one thing that I thought about was how the shape of grief would change through this use of AI in both good and bad ways. That’s what drew me to this idea of how new technologies impact this married couple who is trying to restart or redo their family life through the use of AI.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><strong>One of the big conversations around AI is about the resources that it uses. I thought it was really interesting that the humanoids don’t drink water or eat food. Can you talk about that decision?</strong></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">You thought it was kind of ironic, right?</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">I actually spoke to an expert on these types of technologies and when I talked to them, they were saying that the big obstacle to creating these humanoid robots would be the fact that they generate so much heat in having to move very smoothly, in processing information, and that there would be no way to release or process that heat.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">In order for me to write this story, I needed to clear that obstacle of the fact that they would be generating so much heat that perhaps it wouldn’t even be possible. So I decided to shelve that one issue for the sake of the story. They don’t consume resources. It’s more of a means for them to become independent, that they don’t depend on these resources in order to live.</p></div><div class="duet--article--block-placement _1xorkac1 _1xorkac0 duet--article--article-body-component"><div style="position:relative"><div class="_1044qizj"><div class=""><div style="background-image:none" class="duet--media--content-warning _1k8kvzd0"><div class="duet--article--image-gallery-image _1pegheu0" style="aspect-ratio:1.500375" id="dmcyOmltYWdlOjk2OTYwNw=="><a class="_1pegheu1" href="https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0,0,100,100" data-pswp-height="1333" data-pswp-width="2000" target="_blank" rel="noreferrer"><img alt="A still from Sheep in the Box" data-chromatic="ignore" loading="lazy" decoding="async" data-nimg="fill" class="i7ks070" style="position:absolute;height:100%;width:100%;left:0;top:0;right:0;bottom:0;color:transparent;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http://www.w3.org/2000/svg' %3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'/%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'/%3E%3CfeComposite operator='out' in='s'/%3E%3CfeComposite in2='SourceGraphic'/%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3C/filter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAAEAAAABCAQAAAC1HAwCAAAAC0lEQVR42mN8+R8AAtcB6oaHtZcAAAAASUVORK5CYII='/%3E%3C/svg%3E")" sizes="(max-width: 639px) 100vw, (max-width: 1023px) 50vw, 700px" srcset="https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=256 256w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=376 376w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=384 384w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=415 415w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=480 480w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=540 540w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=640 640w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=750 750w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=828 828w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=1080 1080w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=1200 1200w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=1440 1440w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=1920 1920w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=2048 2048w, https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=2400 2400w" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/07/Still-5-Haruka-Ayase-Rimu-Kuwaki-Daigo-Yamamoto-in-SHEEP-IN-THE-BOX_Courtesy-of-NEON.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=2400"/></a></div></div></div><p><cite class="duet--article--dangerously-set-cms-markup _19wv7tc2 _77sxmb5">Neon</cite></p></div></div></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><strong>Because it’s set in the near future, I had a hard time discerning between fiction and a possible reality. When it was fiction, I loved it. But when it was reality, I was a little afraid. What is it for you?</strong></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">It’s difficult to say, and I don’t want to talk about it in a roundabout way, but I spoke to a robotics expert and I showed them the outline of this story and they said, “Well, this isn’t possible. There’s no way that we’ll make humanoid robots because of the difference in the physicality and the construction of just bodies that humans have internal organs and bone structure inside whereas robots are built from the outside.”</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">So that there would be no way that we could achieve humanlike movements or that you could touch a humanoid robot and they would feel like a human. But if we were to put ethics aside, they said that we would sooner have clones of humans than we would humanoid robots. And that sounded way scarier to me.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">A robot is a robot no matter what way you think about it. But I think that as long as we don’t live in a world full of clones, there’s still a sense of hope there. We’re already in an era where we can clone our pets. I think that’s already happening. So when you think about it from an ethical standpoint, even nations are dealing with it in this ethical way in different ways. So now that if cloning is possible, the way that we manipulate life is becoming more advanced and strange. And that to me is a much scarier prospect.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><strong>This film has a lot of blue in it, especially with the wardrobe. That felt intentional.</strong></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">As far as the costumes and the use of blue, that might just be the decision of Sachiko Ito, who did the costuming. One of the concepts that I brought up to her was that I wanted to use earth tones for the people, the leads in the film. And also one of her concerns was that 10 years into the future, climate change would mean that we live in a hotter climate. So there were a lot of things around thinking through the materials and the construction of the clothing, that perhaps there would be fewer buttons and drawstrings and zippers and fasteners and things like this.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1"><strong>I’m really curious to hear you talk about how AI has permeated your daily life.</strong></p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">I don’t think I’ve incorporated AI intentionally outside of the use of translation AI. I think that it has become so skillful that I often use AI in order to translate my Japanese into English in order to send messages and communicate.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">This came up in the Q&A yesterday at Japan Society. I described how it was my first time using ChatGPT in a way where I fed it the script for this film and said, “Give me feedback.” And we did a few exchanges between myself and AI and every time I would make edits to the script, they would say that it’s great. They said, “You’re going to get into Cannes.” But first ChatGPT said, “I think you’ll get into the Un Certain Regard section.” And I said, “Only Un Certain Regard?” Then my producer said, “Well, the director of this film is a person named Hirokazu Kore-eda.” It said, “Well, in that case, you’re getting into the competition.”</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">And I did get into the competition, so AI is not wrong, but I think that any person could tell me as much. So I don’t think that I found any utility in that exchange. And the fact that there’s no humanness in the background to this exchange is what makes it mostly unattractive to me.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">I think that the more that you train an AI, for instance, on a person who is maybe known for giving romantic advice, then that advice also becomes more normalized. So I think that I’m not personally sold on it and I don’t find that AI is all that useful to me. What I find more problematic is that human beings are becoming so geared towards a kind of productivity mindset that this is even affecting activities on set for filmmaking. I think that safety is important, but for instance, we’re no longer filming driving scenes on the road. We’re doing it in studios by compositing backgrounds. I think that stunt work is also going to maybe fall to the side and then slowly be subsumed by AI or VFX.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">It’s really not about us excluding AI from our day to day. Already we’re using things that we would have used our imagination for and then offloading that onto computers. For instance, with this film, I shot a driving scene at a studio and we composited the background.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _18mzr4ba _19wv7tc1">But I don’t find it all that interesting. I’m going to stop writing scenes that require this type of VFX or compositing because I think that the more that we are being subsumed by productivity, it’s actually the antithesis of creativity.</p></div><div class="duet--article--article-body-component"><p class="duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1">Sheep in the Box <em>is in select theaters Friday, July 24.</em></p></div><div class="tly2fw0"><span class="tly2fw2"><strong>Follow topics and authors</strong> from this story to see more like this in your personalized homepage feed and to receive email updates.</span><ul class="tly2fw3"><li id="follow-author-article_footer-dmcyOmF1dGhvclByb2ZpbGU6Mzk1OA=="><span aria-expanded="false" aria-haspopup="true" role="button" tabindex="0"><span class="gnx4pm0 _1uf8q814 _19wv7tc5 _1618ekm0"><span class="_1ajq89kf _1ajq89k1 _1ajq89k0"><svg xmlns="http://www.w3.org/2000/svg" class="_1ajq89kp _1ajq89k4 _1ajq89k3 ftptba0" 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