My Saturday morning started off with a look at some truly phenomenal art in LACMA’s Japanese Pavilion: a curvy architectural twist on the normally rectilinear Japanese pagodas. The thought of following that with a jaunt to The Grove to see Betsey Johnson, making an appearance for The Grove’s 10th and her 70th birthday, seemed just too incongruous. Although, Betsey’s designs are a bright and sassy designer’s twist on the normally pastel and severe dancer’s top and tutu… Could it be that my Saturday afternoon activities had more in common than meets the eye?!

One of Ohie Toshio’s books, exhibited at LACMA.

One of my favorite installations in the Japanese Pavilion was “Ohie Toshio and the Perfection of the Japanese Book.” Ohie brought the practice of bookbinding to Japan in 1974 and did so by using graphic design, bright colors and interesting textures and materials. It was also in the ’70s that Betsey Johnson began her career, launching her own line in ’78. She, too, is known for her use of bright colors and interesting textiles and design.

But eschewing specifics, one thing I learned generally about Japanese art was that it is functional art. And what is fashion if not that? Japanese art also seems to value quality workmanship and skillful design, an attribute I’ve noticed in my casual encounters with Johnson’s dresses.Color – and even the use of gold – factors into both schools of creation. And Johnson, like the Sacred Buddha at LACMA, is way older than you first thought… and has aged remarkably well.

So, who won this WeHo face off? Johnson had the longer line, but studying the sacred relics of another time and place at the Japanese Pavilion was more satisfying. Taking into account the fact that I was able to see both, only had to park once, and enjoyed a fantastic meal at Ray’s in the LACMA courtyard between the two? I’d say I was the clear winner.