Jonathon Glus is the Prebys Foundation senior fellow leading the development of the Art + Design District at the Downtown San Diego Partnership. He has been asked what an arts and design district is many times. In our conversation, I asked him instead to describe what it isn’t. His answer opened up a broader discussion about what San Diego has and hasn’t invested in, what it has the capacity to become, and what other cities have done that we haven’t. Glus speaks about global art fairs and architecture biennials in Chicago and long tables at dinner parties all with the same fluency. He also discusses who gets to live in the neighborhoods where creative work happens, and what it means when they can’t afford to stay.

Claire Johnson: You have been asked what an arts and design district is many times. Can you tell me what it isn’t?

Jonathon Glus: It is not a place designed intentionally and specifically for tourists. Of course there will be opportunities for tourists to come, but the district is really focused on creatives, on creative education, and on the creative workforce—as well as our major performing arts organizations. That is the emphasis.

What does the district need to do in the next five years for you to consider it a success?

[It needs to] develop greater connectivity between the anchor institutions—the symphony, Broadway San Diego, the opera, all the wonderful things happening in Balboa [Park]—and the creative workforce that will be living and working in that neighborhood 24/7.

What does San Diego not have that you wish it did?

We have not been intentionally investing in the contemporary art product that other major cities have been building. A contemporary art fair. A biennial that reflects the ethos of this region. Chicago developed an architecture biennial about eight years ago. London has a design biennial. Desert X, right here in Southern California, invests in and elevates contemporary artists inside a city. We have not really been playing in the global art market in a way that we have the capacity to.

What capacity do we have?

We have a wonderful foundation. Two theater companies that produce work that goes to Broadway more than many regional theaters in the country, major museums, artists teaching at UC San Diego and University of San Diego. What a city does when it wants to take itself to the next level is intentionally create the product. Miami went after the Art Basel fair; they did not passively receive it. You have to have the intention and the will, and you have to go after it. We haven’t done that in the way that other cities have.

Look at what we did with the tech sector; we’re now a major tech center. That was intentional. Leadership organized around it. We have to do the same thing around the arts. We have a lot of contemporary art collectors here. We have a lot of galleries. But the ecosystem of the business of contemporary art is not as organized or as visible as it should be.

Which city is your North Star?

It’s bits and pieces of different cities. Dubai has invested very quickly and very intentionally in contemporary art—art fairs, design fairs, higher education, artist residencies from all over the world. London has centered artists and creatives in the contemporary zeitgeist in a way that was not true 40 years ago. They built biennials. They ensured British artists had affordable housing and workspace. They made sure the media paid attention to what they were doing.

If you don’t have an artist at your dinner table, it’s not a dinner party. That sounds elitist, but it’s true. It shows the value that artists have in a community. Our relationship culturally with Tijuana is really significant here because artists in Baja seem to be at the table.

We’ve talked before about how food, fashion, design, and art aren’t siloed anymore.

They aren’t. When super creative people are in a community doing extraordinary work, that draws other super creative people doing extraordinary work. That’s why other arts and design districts around the world end up populated with some of the most interesting restaurants and young fashion designers. Creatives want to be around other creatives.

Which leads to the economic argument…

Our creative economy already employs about 170,000 people and generates more than $11 billion in economic activity. It’s large and robust. But we must center all of this in accessibility and affordability. Williamsburg used to be affordable. Artists can’t afford to live there anymore. Wicker Park and Bucktown in Chicago—artist central, now unaffordable. If we’re going to invest in this district, we have to be really intentional about housing and workspace, so creatives have a place in the future of this district.

I see all these new supper clubs and creative collectives popping up. What is the lesson there for San Diego in terms of the commercialization of cultural and creative groups?

I think the lesson is that nothing changes. What do people love? Long tables. Why? Because you’re with a lot of people—some you may have known your entire life, but most you don’t. And if it’s driven by a creative process, all the better. We know one of the best ways to do that is around food, but also music.

For the Art + Design District, part of why we’re leaning into the process is because, culturally, we’re bringing down the barriers between film, fashion, multimedia, tech, and architecture. It’s an experiential mashup in the best possible way.

And it’s not just about art and design, but community writ large. Creative expression is something we all desire. Whether it’s at a long table, at the opera, or in your studio, we gravitate toward creative expression as a way of building community and communicating with the people around us.

Is there a question I should have asked you but haven’t?

I hope you are writing about this in seven years when the district is fully mature. But this is just the beginning for all of this. I think that’s what’s most exciting to me. We don’t know what this is going to be like, but we know it’s going to be creatively centered, and that’s super exciting to me.

Sebastián Morúa is the Senior Vice President of Brand & Innovation for San Diego FC. He oversees Playmakers, the program through which the club has, over the past three years, engaged with over 80 working artists—not as marketing partners, but as co-creative directors.

Morúa didn’t build Playmakers as a community-outreach program bolted onto a Major League Soccer franchise. He built it as the identity of the franchise. When we sat down, he talked about the World Cup, San Diego’s creative workforce, his challenge to other sports franchises in the city, and the mural of heroes he hopes people will see one day when they close their eyes and picture San Diego FC.

Claire Johnson: Why does an MLS team invest in arts and culture?

Sebastián Morúa: I want to answer that in two parts. Philosophically first—because I think what you’re really asking is why should any sports team do this when most don’t.

Sport is a platform for transformation. It has proven that over and over. We saw it this summer with countries participating in the World Cup for the first time and what that did in their home countries—the sense of self-identification, pride, possibility. That is the power of sport.

When you take a sports team that’s fueled by that principle and understands what it could mean for other stakeholders in a community, you start to think about what you can accomplish in collaboration with them. One of those stakeholders, very early on, was the creative community. If we were going to build a team that represents this place and its people, we needed to go to the source. Artists are uniquely positioned to translate the essence and the soul of a community. When you zoom out and look at the multitude of artists in a place, you start to see the fabric of that local culture. That’s where the sense of pride and possibility gets unlocked.

But you’re also San Diego FC specifically. That matters.

Our mission is to create opportunities for talent to flourish and make San Diego shine. That means the club is a platform. When we started doing the early research for the brand, we brought artists into our focus groups. The response was immediate. There was a clear need. In 2024, we ran the first full year of what became Playmakers, working with more than 20 artists to help us tell the story of how San Diego FC could weave 18 distinct communities together.

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We’re in the business of developing communities through sport. We’re not in the business of fútbol to entertain communities. That is an outcome—but not the purpose.

When you started, were you thinking about the profitability of this type of program?

No. I wasn’t thinking about where this was going or how much it would cost. It instinctively felt aligned with our organizational purpose, and we made a decision to go for it. Now it’s become what it’s become.

What does Playmakers look like in 10 or 20 years?

If a fan closed their eyes 20 years from now and tried to paint a mural of the heroes that make up the club, they would see a big percentage of Playmakers artists on that mural. Ask any fan about the team they’ve supported for decades, and they’ll tell you about players, maybe a coach, maybe an owner. We’re expanding that. In our mural, there’ll be artists, entrepreneurs, community leaders, youth coaches. The community will be present.

Three to five years from now, Playmakers is an established community of creatives who have co-directed the identity of the club and the evolving identity of San Diego. If we keep the pace we’ve kept, we should have collaborated with 150 to 200 artists whose stories we’ve told and whose next steps we’ve helped support.

What would you tell another organization considering this kind of investment?

There’s a huge benefit for us as a club and as a brand. This is symbiotic. The artists have a need, we can support that need, and in return the community cares more about our club because of the investment we’re doing in the community. That’s what I would tell another organization.

What excites you most about how San Diego is changing?

San Diego is waking up to how much it has to offer the global conversation around culture. There’s a purity to life here—partly because of the weather, which allows us to spend so much time outside, in nature—and that exists alongside this incredible richness in food, music, art, and now sports.

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I have a sense that San Diego is ready to unlock its full potential. You see it in the artists and creatives here. They’re ready. There’s very little hesitation. It’s more like: “Hell yeah, of course I want to do this. I know I’m talented. I’ve been waiting for something like this.”

That energy, combined with the unique lifestyle and character of this place, creates a really exciting sense of what San Diego can become in the years ahead.

Is there a question I should have asked you that I haven’t?

I would ask: What would you say to the other big players in San Diego who are—or could be—shaping the cultural fabric of our community? Do they understand the symbiotic benefit? Are they supporting it?

Because Playmakers, in the end, is a cultural compass. It’s making sure that San Diego still feels—and will always feel—represented in the creative process of building San Diego FC and what that means for San Diego.

The pitch is a canvas. Athletes are painting collectively during every game. There is a story in every game. That’s the link between sport and art. At the core, it’s the same creative process.

After 15 years married, my husband and I tend to agree on most things. But there’s one argument we both refuse to bend on—I prefer okonomiyaki Osaka-style, and he’s a die-hard Hiroshima-style devotee. (To be fair, we both adore both styles, but at this point, it’s just fun to have a low-stakes disagreement.)

Okonomiyaki is one of Japan’s greatest comfort foods, a savory pancake that’s about the size of a DVD, if you aren’t too young to know what that is. It’s not terribly hard to make—it’s flour, eggs, dashi stock or water, and a whole heap of shredded cabbage, plus optional fillings like green onions, pork belly, or bonito flakes, all cooked fresh on a flat top griddle. Drizzle some kewpie mayo and okonomiyaki sauce on top, and you’re hot to go. 

However, it’s not easy to make well, and as you now know, people have capital-O Opinions about Osaka-versus-Hiroshima. Hiroshima-style layers the ingredients one by one rather than mixing them together, adding a layer of soba or udon noodles and topping it all off with a fried egg. For Osaka-style,  all the ingredients are mixed together and then cooked on the griddle, so every bite includes every ingredient in a hodgepodge of deliciousness. (One Osaka variation called modan-yaki does include soba noodles mixed in the batter, but they’re not traditionally used in that regional version.) 

Despite a childhood spent in Osaka, Japan, Kumi Alexander specializes in making Hiroshima-style okonomiyaki. “Okonomiyaki has been part of my life for as long as I can remember,” she explains. “My parents ran their own business when I was growing up, so Saturdays were often busy, and okonomiyaki was one of my mother’s go-to lunches because it was simple and easy to make.” 

Alexander came to San Diego seven years ago with a desire to bring a part of her culture with her—not just a product, but a feeling. “When I thought about what could do that, the answer was almost obvious: okonomiyaki,” she says. 

She originally launched Surf’n Slaw as a mobile pop-up food stand in August 2025, offering what Alexander calls Japanese-meets-California okonomiyaki. “Our full Surf’n Slaw includes cabbage, noodles, umami dough, beef, shrimp, and vegetables,” she explains. The menu also has a “Green Wave Slaw,” an Osaka-style version that can be made vegan and gluten-free, as well as matcha drinks. 

Currently, Surf’n Slaw pops up at farmers markets in North Park, Scripps Ranch, Hillcrest, La Jolla, and La Mesa, as well as other local markets and community events. Eventually, she may expand to a permanent location, but that’s a future goal. And while Alexander hopes that one day okonomiyaki will be as well-known to American audiences as ramen or sushi, for now, she’s just happy to share a bit of home with San Diego. 

San Diego Restaurant News & Food Events

Beth’s Bites

• Izola Bakery announced big plans for a second location and bakery HQ (checks notes) over three years ago and it’s kind of been crickets since then. But there may be movement in the expansion plan—the East Village bakery recently put out a hiring call for “the people we need to help us build what’s next.” Here’s hoping things get cooking (or baking, as the case may be) soon. 
• As a California-born, East Coast-raised foodie, I can confidently say the East Coast has the deli game on lock. So whenever anyone announces they’re bringing an East Coast-style sandwich to the West Coast, I remain cautiously optimistic until proven otherwise. (Big Jim’s in Pacific Beach is a phenomenal example of a transplant done exceptionally well.) Los Angeles-based Ggiata Delicatessen recently announced plans to open a location in Encinitas, promising authentic Italian staples like meatball parmesan subs, cheesesteaks, and Italian cold cuts. Don’t let me down, guys!
• Unfortunately, it’s not all openings and expansions. Nola on 5th in Hillcrest permanently ceased operations without warning or explanation. We can probably pick from one (or more) squares on Restaurant Closure Bingo for the reason (increased costs for ingredients, labor, equipment, etc.), but for the jambalaya enthusiast, it doesn’t really matter why. It’s simply adieu to a slice of The Big Easy in San Diego. 

Listen Now: The Latest in San Diego’s Food and Drink Scene

Have breaking news, exciting scoops, or great stories about new San Diego restaurants or the city’s food scene? Send your pitches to [email protected].

Tokyo unquestionably holds the title as one of the best, if not the best, food cities of the world. But despite the plethora of Michelin-starred kaiseki restaurants and hole-in-the-wall ramen joints, you’d be remiss in walking past glowing signs beckoning you to enter one of the 56,000-plus konbini across the country.

Konbini cafes like Lawson’s, FamilyMart, and 7-Eleven may look like run-of-the-mill convenience stores, but convenience store culture is a completely different animal there. Absent are the sad, floppy hot dogs sizzling sweatily on a rotating wheel of misery. Instead, konbini are stocked with a bevy of hot and cold drinks in every imaginable flavor, meals like tamago sandos (Japanese egg salad sandwiches) and prepacked bento boxes, snacks like onigiri (handheld triangles of rice and seaweed, often filled with fish or pickled plum), and even limited-edition merchandise (not unlike Wawa’s line of merch). 

Soon, Hillcrest will get a taste of konbibi culture. Hako Hako opens in front of Uptown Inn by Vantaggio, next to Ramen Ryoma, in early 2027.

Kenji Blouin-Ito, a half-Japanese, half-French San Diego native grew up eating Japanese food at home and during trips across the Pacific. “I remember looking forward to eating bentos on the train,” he says, grabbing quick items to munch on without sacrificing quality or succumbing to cost. When in France, he saw a rise of appreciation for casual Japanese cuisine, “long before it happened here.” 

So he decided to bring it here. After AB 626 passed in 2018 to allow different jurisdictions to permit Microenterprise Home Kitchen Operations (MEHKOs), Blouin-Ito launched Foodnome, the first legal marketplace for homemade food in the US. Eventually, the national nonprofit The Cook Alliance took over the project, leaving him open to the next new idea but with the experience of running a food-based business. 

“That experience changed how I think about food, not just what makes it good but what makes it work,” he explains. Bento boxes felt affordable in a time of inflation, convenient in a bustling world, and versatile to a variety of palates. When he got the chance to open a konbini himself, he went for it. 

His family runs Uptown Inn, a mix of apartments and hotel rooms that’s seen increased food traffic over the past few years. “We had a small space in front of the building that wasn’t being used, and it just made sense,” he says. Hako means “box” in Japanese, a reference to both bentos and small space from where he’ll sling freshly made bentos, coffee, drinks, pastries, snacks, and a small retail selection.

Hako Hako will initially open for morning and afternoon hours, but you don’t have to wait until next year to get a taste of Japanese culture. Blouin-Ito’s concept is popping up at various coffee shops around San Diego, with a few coming up: Easy Does It on September 19 and Cafe Moto on October 17. Until then, practice the art of gaman: patience with grace. 

Hako Hako opens at 819 University Avenue in Hillcrest in early 2027.

San Diego Restaurant News & Food Events

Beth’s Bites

• Sushi Tadokoro held on to its Michelin star for three years—no mean feat for anyone. But now, the Old Town restaurant is changing things up, eliminating lunch and à la carte service at the end of September before transforming into an omakase-only experience in October. The dining room will close from October 1 through October 22 to make the change, but promises it will be “more intimate. More personal. More focused on each guest and every piece we serve.” Sounds worth the wait.
• Bock brought new life to South Park when the German-inspired beer bar opened after a long construction process by owner Brian Jensen (Vino Carta, Bottlecraft). Now, Bock is getting its own shot in the arm with a new in-house kitchen from the people behind Majorette, Love Letters Pizza, and Scrimshaw Coffee. Kurz, or “quick” in German, is already open, serving European-inspired bites like the requisite currywurst, Bavarian pretzel, and schnitzel, along with some newcomers like a pierogi and famous “Majorette burger.” (I can confirm it’s a damn good burger.) Reminder: Bock and Kurz are 21+, so leave the kinders at home.
• The popular Japanese dessert chain Warabimochi Kamakura already has 70-plus locations in Japan, Australia, China, Thailand, and the U.K. (to name a few), but is finally opening a location in Convoy District at 8322 Clairemont Blvd. After a successful pop-up test run at Asa Bakery, Warabimochi Kamakura will bring its signature warabimochi (a traditional simple, jelly-like dessert), plus tea like matcha and hojicha, as well as soft serve as soon as October, but possibly November. (Although warabimochi is sometimes considered a summer treat, I’m pretty sure I can make an exception for autumn.)

Listen Now: The Latest in San Diego’s Food and Drink Scene

Have breaking news, exciting scoops, or great stories about new San Diego restaurants or the city’s food scene? Send your pitches to [email protected].

No matter your job, it’s helpful to find some sort of joy in it to avoid going completely insane. Some people savor the variety of personalities when dealing with customers. Others find comfort in the predictability of closing a bar after last call, counting tips and wiping counters. Perhaps achieving Inbox Zero really gets your blood pumping, or shipping a new product design sparks joy.

For Heidi Greenwood and Juerie Masters, work doesn’t get better than logistics and operations.

“[We] both love all the unsexy parts of supply chain and backend management,” laughs Greenwood. Tracking outbound orders? Ensuring compliance? Managing inbound freight? Stop me if this is getting too hot for you!

Not enough people think about the unsexy reality of running a business before launch, but effectively and consistently keeping an eye on operations separates successful companies from out-of-business ones. Both Masters and Greenwood already own their own businesses—Greenwood is behind the wine zine Campestre Mag and runs the online wine shop Esquina, and Masters co-owns Clos Wine Shop and Fintastic Provisions in University Heights with her husband Paul. Apparently, these gigs weren’t enough to satisfy their collective yearning for spreadsheets and inventory maintenance. 

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So, they decided to start another business together—Sosal Line, a San Diego-based import and distribution company specializing in global pantry items. The pair launched Sosal Line at the beginning of 2025 and currently only sell three brands of tinned fish, but Greenwood says they plan to expand their offerings as they discover other small or family-run businesses that share their values.

“We want to work with brands and with products that really have a sense of place and actually tell a story—not just the product, but the people behind it too,” she says. 

Masters and Greenwood are both Korean-American and named this burgeoning business after Haenyeo, the legendary free-diving women of Jeju Island in South Korea. Traditional Haenyeo equipment and garb include oribal (swim fins), yeoncheol (lead belts to help them sink), and the company’s namesake sosal, a hand-held fishing spear (sometimes called jaksal). 

The average person, if sitting completely still, can stay underwater for up to a minute and a half at most. Haenyeo can hold their breath for up to three minutes while actively foraging, harvesting, and swimming. Scientists say these diving women spend more time underwater than any other group of humans on earth. Not badass enough for you? The average age of Haenyeo is around 70.

“Fishing is a strong heritage for Koreans, and it’s the same here in San Diego with the Portuguese settlers,” Greenwood explains. (We aren’t the tuna capital of the US for no reason.) 

Sosal Line carries 100 percent traceable, wild caught fish from Galicia in Northern Spain and the Pacific Northwest, all family-owned companies who don’t compromise on sustainable practices. Tinned fish has never been more popular—or more debated—but there’s more to it than cute labels designed for maximum Instagram reach. “I want to know who I’m purchasing from,” says Greenwood. One of their suppliers, Craft Fish Co., which is based in San Diego but fishes in the PNW, is run by JJ and Jessica Gerritsen. JJ catches, Jessica packages, and it’s a business relationship on a first-name basis. “You can’t find that when you’re working with some nameless brand.”

San Diegans can find Sosal Line products at local retailers like Clos/Fintastic (obviously), allmine in Oceanside, Always Hungry Grocery & Goods in Carlsbad, J. Brix Wines in San Marcos, Collins & Coupe/Tablespoon in North Park, and Green Acre in La Jolla. They’re also available in select retailers in Northern California, Oregon, Arizona, and strangely enough, South Carolina. Expanding its client base is, of course, a goal. But not at the expense of quality or joy of discovery.

“I would love to see people try food from different cultures and be excited about it,” says Greenwood. “Maybe make them want to travel to experience different areas of the world.” 

San Diego Restaurant News & Events

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