What's Contemporary Now?

In recent years, it's become harder to tell whether fashion can still stand on its own, without leaning on the scaffolding of sport, film, or whatever cultural tentpole happens to be in rotation. But with the sustained relevance of System and the sharp ambition behind its latest expansion, Editor-in-Chief Jonathan Wingfield offers a clear answer: yes—fashion can still trade on itself. It is a business, unquestionably—but a beautifully complex one, in constant dialogue with culture. And in that dialogue, the currency of creativity proves more stable than gold. Unlike so many aspects of contemporary life, its role is inimitable, its value evergreen. In this conversation, Wingfield traces his own route—from suburban teenage boredom and record sleeves to the visual literacy that would come to define his work. We talk about System's origins, the logic behind System Collections, and what gets lost when coverage is dictated by algorithms rather than curiosity. “The most interesting commentary on a film often came from the costume designer, not the star. That logic applies to fashion too.” - Jonathan Wingfield Episode Highlights: From suburban boredom to fashion curiosity - Wingfield traces his creative awakening to the disconnect between small-town life and the cultural energy of nearby London—music, record sleeves, and magazines were his early portals. The record sleeve as first editorial influence - A Peter Saville–designed cover for New Order's True Faith becomes an entry point into the world of typography, photography, and image-making. A formative mentorship on the road - A months-long carpool with UK publishing legend Alan Lewis becomes a crash course in magazine craft—headline writing, storytelling, and editorial voice. Why editing is about the final decisions - For Wingfield, the joy of putting a magazine together isn't in the interviews—it's in the final details: captions, pull quotes, and headlines that shape meaning. System's founding as a response to access fatigue - Frustrated by increasingly hollow interviews with celebrities, Wingfield wanted a space for deeper, more sustained conversations—System was his answer. Virgil Abloh as a cultural inflection point - A cover story featuring Virgil becomes a turning point for System, bridging industry credibility and outsider influence, and reframing who the magazine is for. The slow reveal: System's relationship to time - Wingfield shares why the magazine resists real-time commentary and favors longer arcs—interviewing designers after the noise has died down. The launch of System Collections - He introduces System's newest project: a seasonal, time-capsule-style publication that offers deep visual and editorial takes on fashion month. On interviewing well—and waiting for silence - One of his top tips: don't rush to fill silences. Real answers often follow the pause. What's contemporary now? Swerve the algorithm - Wingfield's closing reflection: avoid being trapped in feedback loops. Discovery, intuition, and counterintuitive creativity are what truly move culture forward. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's easy to repeat oneself in fashion. Certain truths return again and again, not because we lack imagination, but because they remain unresolved. One of them is this—authenticity isn't rare because people are unwilling to be real, but because many still don't know who they are. Carlos Nazario does. And more than that, he shows up as himself, without spectacle and without self-mythologizing. What makes this conversation compelling isn't only his perspective on fashion or culture. It's the way he holds space for complexity—the exhaustion and the joy, the disenchantment and the deep love for the work. There's a calm clarity in how he speaks about image-making, identity, and the creative life. Not as fixed roles, but as evolving practices. For anyone feeling unmoored by the state of the industry or uncertain about how to keep creating in a time that feels increasingly TBD, this episode offers something more valuable than certainty. It offers perspective, and the steady presence of someone who has figured out how to move forward without losing himself along the way. “I love fashion. I don't always love the fashion industry.” - Carlos Nazario  Episode Highlights: Redefining Exhaustion in Creative Work - Carlos discusses the mental and emotional toll of fashion's nonstop pace—and why he refuses to glorify burnout, emphasizing presence, boundaries, and creative sustainability. Loving Fashion vs. Loving the Industry - He unpacks the tension between a deep love for fashion itself and disillusionment with the political performance of the industry. The Power and Limits of the Internet in Fashion - Carlos reflects on the democratization of commentary online, and how the resulting noise makes it harder to sift out meaningful, resonant work. Image as a Tool for Transformation - A powerful meditation on imagemaking as a vehicle for cultural change, generational thought, and emotional resonance. Resisting Small Talk, Embracing Realness - He shares his discomfort with surface-level conversations in industry spaces, and his craving for meaningful, emotionally honest exchanges. Retreat, Identity & Reclaiming the Self - A story about a therapeutic retreat—where he wasn't allowed to share his profession or last name—leads to a conversation about selfhood outside of industry labels. Critique vs. Cruelty - Carlos addresses the rise of snarky, anonymous fashion criticism, drawing a distinction between valuable critique and performative cruelty. The Weight of Representation - He speaks candidly about his experience as a Black, Afro-Latino stylist—and how resilience, optimism, and responsibility continue to shape his point of view. Time, Mortality & Legacy - A moving reflection on life's brevity, what it means to step away, and how true impact often comes from stillness and intentionality. What's Contemporary Now - Looking within. Carlos defines contemporaneity as self-awareness, intention, and resisting herd mentality in favor of independent thought. Learn more about your ad choices. Visit megaphone.fm/adchoices

 It is Monday, but not just any Monday. It's the first Monday in May queue. The flash bulbs, the group chats, the live tweets, the MET Gala is here, and with it, the annual flood of speculation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Describing Lyas as a "fashion narrator" rather than a critic or commentator feels curiously apt in a moment when fashion could use a little more imagination and a little less judgment. Storytelling, after all, is what he does best — with a kind of honesty that carries weight without ever feeling heavy. Unlike many of his peers, Lyas is as much a creator as he is a commentator, sculpting himself into a living performance while quietly building a world behind the scenes with two films already in the works. His energy moves through the industry like a weather system — sometimes wild, but never without purpose — electrifying the air it passes through. He learned early that the worst thing anyone could do was ask him to tame himself, and it is precisely this refusal that has shaped his path. Fired from every traditional job he attempted, Lyas carved out a future that runs on instinct, imagination, and just the right measure of delusion. In an industry that often rewards conformity, he is a reminder that sometimes it is the unruliest forces that end up remaking the landscape. "I couldn't be normal. My normal is crazy." - Lyas  Episode Highlights: Growing up in Rouen - Lyas reflects on his early years in a city steeped in history but devoid of contemporary culture — and how moving to Paris unlocked his sense of identity and creative belonging. The Power of Performance - How 11 years of drama school shaped Lyas's relationship to fashion, storytelling, and self-expression — and why performance is an essential part of his daily life. Feeling the Most Tamed — and the Most Lost - A candid look at how being "tamed" or asked to tone down his personality deeply affected Lyas's sense of self-worth — and why authenticity became non-negotiable. Building a Career Without a Blueprint: - Lyas shares how unconventional paths, personal resilience, and creative hunger shaped a career that defies traditional expectations — and why doing things his own way became the only option. Living Rent-Free in Paris (and Building a Dream) - The surreal stretch of living rent-free during COVID — and how it gave Lyas the time and space to develop the projects that would launch his digital career. Making Fashion Critique Accessible - Why Lyas believes fashion commentary should be democratized — speaking to real people, not just insiders — and how he uses humor and storytelling to break down barriers. Choosing Integrity Over Industry Pressure - The moment Lyas chose honesty over maintaining industry relationships, after attending a disappointing show and refusing to stay silent. The Future of Fashion (and the Role of Excitement) - How Lyas manages to stay genuinely excited about fashion, especially by championing young designers, despite the industry's increasingly commercial pressures. Writing Stories, Not Just Reviews - Lyas shares his passion for screenwriting, the difference between writing scripts versus essays, and the films he hopes will challenge and change culture. What's Contemporary Now? Hatred — and Hope - Lyas's unexpectedly profound answer to the show's namesake question — that hatred feels contemporary today, but so does the community-building needed to fight it. Learn more about your ad choices. Visit megaphone.fm/adchoices

In fashion, there are stylists—and then there are image-makers. As the “C” in KCD and one of the first male editors to define women's fashion editorial, Paul Cavaco helped shape the modern visual vocabulary of the 1990s, styling everything from Harper's Bazaar under Liz Tilberis to Madonna's era-defining Sex book with Steven Meisel and Fabien Baron. Tonne Goodman, whose early days included modeling for Richard Avedon and assisting Diana Vreeland, brought that same instinct for clarity and cultural intuition to her longstanding role as the American fashion editor of Vogue. In a moment when the function—and future—of the fashion editor is being reexamined, hearing from two of its originals felt not only timely, but essential. Their conversation is a reminder that while fashion constantly reinvents itself, the value of vision and integrity never goes out of style. "I grew up in the Bronx. There was no fashion in my house. What we had was music, grit, and individuality." - Paul Cavaco  "Everything really does happen for a reason. Even the catastrophic moments usually lead to something better." - Tonne Goodman  Episode Highlights: The Bronx Meets the Upper East Side - Paul and Tonne reflect on their wildly different upbringings—his gritty childhood in the Bronx, hers in a cultured Manhattan household—and how those contrasting backgrounds shaped their approach to fashion and image-making. Modeling Missteps and Vreeland's Memo - Tonne shares how her short-lived modeling career ended with a memorable memo from Diana Vreeland describing her as “not pretty,” but still worth investing in—an early lesson in resilience and reinvention. From the Streets to the Studio - Paul shares how growing up in the Bronx and discovering style through music and street culture gave him a grounded, real-world approach to fashion—one rooted not in fantasy, but in everyday grit and individuality. The Madonna Sex Book and the Power of Play - Paul shares behind-the-scenes stories from the making of Madonna's Sex book, revealing how humor, trust, and improvisation drove one of pop culture's most provocative moments. Working Under Vreeland, Liz Tilberis, and Anna Wintour - Both editors reflect on their experiences working under three of fashion's most legendary editor-in-chiefs, and how those women shaped the way they understood vision, authority, and trust. Amber in Poughkeepsie - Tonne recounts a story of a shoot gone wrong—turned right—thanks to a vintage car parade and quick thinking. A reminder of how the best images often come from the unexpected. What a Fashion Editor Actually Does - They unpack the evolving role of the fashion editor—from doing everything themselves in the early days to navigating the micromanagement of today's content-saturated shoots. The Value of Niceness - In an industry known for egos and elitism, both credit their long-term success to gratitude, empathy, and kindness—and explain why being “nice” is often an underrated superpower. On Creative Longevity and Staying Awake - The key to keeping ideas fresh? Staying alive to the world. For Paul, it's about visual curiosity. For Tonne, it's emotional connection. For both, it's a refusal to become calcified. What's Contemporary Now - Tonne cites empathy and mutual care as the defining principles of the present, while Paul reflects on how enduring values—rather than trends—shape what really matters. Learn more about your ad choices. Visit megaphone.fm/adchoices

While it's nearly impossible to open your eyes without encountering some news item signaling uncertainty or disruption, we couldn't help but find excitement in the inevitability of change—even when that change isn't exactly what we might have chosen ourselves. With the season's remaining episodes ahead, it felt like the right moment to invite audience participation by opening the mic to your questions—ones you'd like answered by the creatives who make up our incredible cast. DM us on Instagram or email us at info@whatscontemporary.com. If you've enjoyed the show, leave us a review and we'll be back soon with more episodes answering the insatiable question, what is contemporary now? Learn more about your ad choices. Visit megaphone.fm/adchoices

Once upon a time—not so long ago—it was fashionable to declare that print would only endure if it became a luxury object. That forecast now feels less like speculation and more like prophecy. Today, conversation tends to orbit a different anxiety—the ceaseless deluge of content, the flattening effect of algorithmic consumption, and a hunger not just for beauty but for discernment. In that context, Beyond Noise feels less like a magazine and more like an antidote. Conceived by Sarah Richardson as a biannual publication with the weight of a collectible and the spirit of a cultural artefact, it resists the pace of now in favor of something slower, deeper, and yes, more exacting. During the release of the third issue, Richardson joins us to unpack the why, the how, and the why now of her quietly radical vision. “Even if you don't agree with me, I'd rather build something that reflects a clear point of view. I think people are craving that right now.” - Sarah Richardson Episode Highlights: Sketching in the Halls of the V&A - Sarah reflects on her early creative instincts, growing up in central London and spending weekends sketching historical costumes in museums with her culture-loving mother. Fashion Through Film and Family - Watching old movies with her stylish grandmother becomes one of her earliest memories of fashion, setting the tone for a lifelong love of cinematic style and storytelling. From Window Dressing to Styling - Her time at Joseph and Browns led her from visual merchandising to understanding styling as a career path—guided by early encounters with Venetia Scott and a pivotal comment from her father. The Subcultures of London Past - Sarah shares how London's subcultural richness shaped her worldview and speaks to the shift of that visible diversity in today's more commercial fashion landscape. Bridging New York and London - With offices in both cities, Sarah discusses the cultural tension and creative energy between New York's optimism and London's rebelliousness—and how Beyond Noise brings the best of both worlds together. The Birth of Beyond Noise -  After years of experience across fashion, retail, and publishing, Sarah speaks about her desire to build a platform that reflects her vision and gives space to other creatives. Why Two Volumes Not One - She unpacks the decision to split Beyond Noise into two distinct volumes—Beyond as a purely visual experience, and Noise as a place for culture, commentary, and deeper reading. Editorial Freedom and Artist Trust - Sarah emphasizes the importance of giving creatives true freedom and explains why the magazine avoids the tight constraints often found in traditional publishing models. Sustainability Versus Technology - She responds to the tension between environmental responsibility and technological advancement, expressing optimism about innovation and the belief that embracing progress is key to finding solutions. What's Contemporary Now - Sarah shares her view on what defines the moment with reflections on social awareness, technological change, and a growing connection to the environment—all anchored by a deep belief in creative optimism. Learn more about your ad choices. Visit megaphone.fm/adchoices

Some may have balked at the news that a Brit would take the helm of Vogue France, but anyone familiar with Claire Thomson-Jonville knows she has long been fluent in the visual and cultural codes that define the brand. Her Instagram alone reads like a prelude to her appointment—an archive of nuanced Parisian style, shaped by years of aesthetic consistency and editorial clarity. No surprise, then, that Anna Wintour has called her the embodiment of French chic. In this episode, we speak with Claire about her longstanding creative partnership—and rare level of trust—with Alastair McKimm, the growing relevance of wellness both within the pages of the magazine and through Vogue France's first-ever wellness retreat launching this summer, and the references she's honoring while bringing her own perspective to a title that now operates in a cultural climate markedly different from that of her predecessors. “I've always had this instinct to follow the work, not the title. If something felt aligned creatively, I went toward it—even if it didn't make perfect sense on paper.” - Claire Thomson-Jonville Episode Highlights: From Law to Parisian Culture - Claire shares her unexpected path from studying law at the University of Edinburgh to discovering her creative instincts while studying French cinema and literature at the Sorbonne. A Childhood of Sneakers and Style - Growing up with a father in sports retail and a love for magazines, Claire reflects on how early exposure to both Nike culture and glossy pages shaped her creative lens. Landing in Paris at the Right Time - Her arrival in Paris during a golden cultural era led to part-time work for Time Out, early encounters with the Colette circle, and an immersion in the city's creative pulse. The Self Service Years - Working with Ezra Petronio and Suzanne Koller at Self Service taught Claire the discipline of image-making, the rigors of independent publishing, and the foundations of her visual language. Freelance Freedom and the Rise of Instagram - Embracing the early days of Instagram, Claire turned consistency and curation into a visual brand—one that foreshadowed her future role at Vogue France. Redefining French Vogue - Claire discusses what it means to inherit a legacy brand in a global digital age, and why feeling like an insider-outsider has helped her lead with authenticity. Realness in Luxury - From vintage-inspired minimalism to publishing knickers on a full page, Claire explores how today's luxury is less about logos and more about time, space, and storytelling. Wellness as Editorial Philosophy - Claire opens up about her wellness routines, High Rocks training, and the upcoming Vogue France wellness retreat—redefining what modern leadership and luxury can look like. Creative Partnership with Alistair McKimm - Her longtime collaboration with Alistair, from i-D to Vogue, reflects a deep trust and shared vision—built on mutual respect and a belief in timeless French fashion codes. What's Contemporary Now? - Claire answers the episode's signature question: “Knowing yourself and following your instincts.” A fitting closing thought from someone who's done exactly that throughout her career. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah Harrelson, founder and editor-in-chief of CULTURED magazine, joins us to discuss what it means to engage the culture rather than simply cover it. From her early training as a competitive equestrian to her unexpected pivot from politics to publishing, Harrelson shares how discipline, curiosity, and an eye for the underdog have informed her editorial approach. We talk about the magazine's evolution—from its roots in print to its growing influence across art, fashion, and design—and why events were always central to the brand's DNA. She reflects on building access without elitism, maintaining integrity in a metrics-driven world, and what feels truly contemporary now. “People think I'm very social, but I'm actually most comfortable standing quietly in a room, observing. That's how I learned—watching how people move, how power shifts, how conversations unfold. I think that shaped my sense of how to tell stories.” - Sarah Harrelson  Episode Highlights: The Discipline of Beauty - Sarah's early life as a competitive equestrian instilled a love of visual precision, self-discipline, and independence—elements that continue to shape her editorial eye. From Politics to Publishing - With a college focus on the politics of poverty, Sarah originally envisioned a career in public service. That political awareness now informs her coverage of art, fashion, and the underdog stories that drive CULTURED. Shyness as Superpower - Once a shy child, Sarah reveals how observing from the sidelines helped her understand power dynamics, refine her instincts, and eventually find her editorial voice. Why She Built CULTURED Around Events - Events have been a core pillar of CULTURED since its inception—intimate, thoughtful gatherings that bring creative disciplines together and foster unexpected connections. The Anti-Algorithmic Editorial Approach - Sarah is unapologetic about choosing stories based on meaning rather than metrics, spotlighting talent before the industry catches on—even if it means fewer clicks. The Art of Cross-Pollination - Long before it became standard, Sarah was curating spaces where fashion designers, artists, architects, and tech figures could genuinely connect—not network, but engage. Rejecting Editorial Rigidity - In response to legacy media's narrow guidelines, Sarah launched CULTURED with a rebellious spirit—including two blank pages in the first issue to make a statement about creative freedom. The Power of Staying Grounded - With three kids and a close-knit personal circle, Sarah prioritizes time, presence, and humility. “I don't like cliques,” she says. “I'm interested in being inclusive.” Cultured VIP & Democratizing Access - Through the CULTURED VIP program, she's opening doors to readers who don't always have access—offering things like museum tours, studio visits, and meaningful cultural experiences. What's Contemporary Now? - For Sarah, contemporaneity isn't about what's trending—it's about authenticity, curiosity, and kindness. A genuine lens, she says, is the most powerful tool any cultural voice can have. Learn more about your ad choices. Visit megaphone.fm/adchoices

Few figures have shaped fashion's visual language like Marie-Amélie Sauvé. From her formative years at French Vogue to her lasting collaborations with Nicolas Ghesquière, she has navigated an industry that thrives on change while staying true to her creative convictions. In this episode, Sauvé reflects on the golden era of editorial freedom, the founding of her own magazine, Mastermind, and why true innovation demands risk. She also shares how yoga sharpens her creative discipline, why she gravitates toward brands in need of reinvention, and what she believes is fashion's biggest challenge today. A rare glimpse into the mind of one of the industry's most influential yet elusive figures. "Mastermind isn't just about fashion. It's about cinema, architecture, politics—because if you only look at fashion, you miss the bigger picture." - Marie-Amélie Sauvé Episode Highlights: Growing up with fashion in France – Fashion was as much a part of daily life as literature and gastronomy in her upbringing, shaping her early perspective. Landing an internship at French Vogue – Her mother's love for fashion led to an opportunity at Vogue Paris, where she was first exposed to industry legends like André Leon Talley, Helmut Newton, and Guy Bourdin. The golden era of French Vogue – Describes the unparalleled creative freedom of the magazine at the time, where editors and photographers could push boundaries without advertiser interference. Why she left Vogue to go freelance – She wanted a deeper understanding of how clothes were made and how designers shaped the industry, rather than just styling full looks in editorials. How yoga shapes her creative process – She practices Iyengar yoga daily, valuing its emphasis on precision and discipline, which mirrors her approach to fashion and creative direction. Why she created Mastermind – She wanted a magazine that balanced fashion with architecture, politics, cinema, and philosophy, giving equal weight to journalism and imagery. The longstanding creative relationship with Nicolas Ghesquière – She and Nicolas "grew up together" in the industry, sharing an obsession with research, reinvention, and pushing creative boundaries. Why true innovation requires risk – She reflects on how the most memorable fashion moments come from pushing boundaries, rather than playing it safe within industry expectations. Fashion's democratic shift – Acknowledges that while fashion is now more accessible, standing out requires an even stronger creative perspective and sense of individuality. What's contemporary now? – Time. In an era of constant acceleration, she believes the most valuable thing is having enough time to slow down, focus, and create with intention. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fashion thrives on newness but resists change, celebrates young designers yet makes survival nearly impossible. Olya Kuryshchuk, founder of 1Granary, knows this contradiction well. What began as a student-run blog at Central Saint Martins has become one of the industry's most unfiltered voices, exposing the gaps between talent, opportunity, and success. In this episode, Kuryshchuk unpacks why magazine editors are shifting to brand consulting, how ageism shapes studio culture, and why true innovation isn't about aesthetics but structure, sustainability, and survival. With characteristic candor, she lays bare fashion's broken pipeline, the illusion of overnight success, and what it actually takes to build a lasting career today. "What's contemporary now? Long-term thinking. Creating with intention. The industry is obsessed with speed, but the future belongs to those who build for longevity." - Olya Kuryshchuk Episode Highlights: The Birth of 1Granary – What started as a student project at Central Saint Martins became a global fashion education platform. The Reality of Fashion Education – A degree from a top school doesn't guarantee success—80% of graduates don't find jobs in the industry. Acting as a Designer Union – 1Granary advocates for young designers, exposing industry flaws and providing career guidance. The Power of Community – Success in fashion isn't just about talent; strategic relationships and collaborations shape careers. Why Editors Are Moving to Brand Consulting – Traditional media salaries are low, while brands offer better pay and creative freedom. Ageism in Fashion – Studios are filled with designers under 30, and career paths for women over 40 are nearly nonexistent. The Industry's Broken Pipeline – Young designers either join big brands or struggle to launch their own—a middle path is missing. The Harsh Truth About Fashion's Business Model – Many emerging designers can't sustain their brands, despite industry hype. Fashion's Double Standard on Sustainability – Big brands have the power to create real change, but it's indie designers who often lead the charge. What's Contemporary Now? – Long-term thinking—in an industry obsessed with speed, real impact comes from sustainability and intention. Learn more about your ad choices. Visit megaphone.fm/adchoices

For years, celebrity stylists were seen as separate from those consulting for brands and shaping fashion imagery. But the red carpet, like concerts and live performances, is its own battleground - one where fashion meets spectacle and commands cultural attention. Today, with "earned media value" driving the industry, the role of the celebrity stylist has become central, crafting moments that break through the algorithmic noise and recall an era when culture felt more unified. Few understand this better than Jahleel Weaver, whose work with Rihanna, Dua Lipa, and Taylor Russell has positioned him as a defining force at the intersection of fashion, music, and celebrity. In this episode, we move beyond the spectacle to discuss why the work matters more than how it's received, the power of staying present, and the creative force of surprise. For Weaver, influence is a byproduct, not the goal. "Love doing this podcast stuff, but you know, in general, I would love for the work to just speak for itself and not have to say anything." - Jahleel Weaver Episode Highlights: From Maryland to the Global Stage – Jahleel Weaver reflects on being the first American-born member of his Panamanian-Jamaican family, growing up without creative role models, and how music, film, and fashion shaped his path. The Icons That Shaped His Eye – Madonna's reinvention, Tom Ford's world-building, and hip-hop's lyrical name-dropping all played a role in defining Weaver's early understanding of style and cultural impact. The Leap Into Styling – A post-recession moment of clarity led him to take styling seriously, which led to an introduction to Mel Ottenberg—a meeting that would change everything. Building Rihanna's Visual Legacy – Since 2011, Weaver has been a key force behind Rihanna's evolving image, from styling to creative direction, launching Fenty Corp, and ultimately leading to his role as deputy creative director at LVMH's Fenty Maison. The Art of Storytelling Through Style – The difference between styling an individual and shaping an entire brand's creative vision, and why research is at the heart of it all. Mistakes, Learning, and the Internet's Watchful Eye – Why failure is essential to growth, even in an era where everything is recorded, and how staying true to his instincts became a guiding principle. Music and Fashion: A Lifelong Dialogue – Hip-hop was his first introduction to luxury fashion, serving as both a cultural educator and a gateway to brands that would later become part of his work. Launching His Own Studio – After a decade with Rihanna, Weaver added a new role, creating a studio where he could expand his creative vision across music, film, and fashion. Has Fashion Become Too Popular for Its Own Good? – Weaver discusses how fashion's explosion in accessibility has blurred the line between admiration and true passion for the industry. What is Contemporary Now? – For Weaver, it's about being fully present. With so much focus on nostalgia and the future, he sees contemporaneity as fully inhabiting the now. Learn more about your ad choices. Visit megaphone.fm/adchoices

The inevitability of change is something we can either fear or embrace with insatiable curiosity, and one of them, of course, yields far better results than the other. Today's guest is a serial entrepreneur and self-described "forever intern" who co-founded Basic.Space, which later acquired Design Miami, where he now serves as chairman. Up next is Design.Space, a project that explores the power of quality curation within an IRL/URL retail experience while bringing together the worlds of design, art, and fashion. In a culture where the concept of community has been co-opted by big business and marketing teams, Jesse Lee shares a different approach that, for this conversation, we'll call a club. Whether or not you're familiar with the burgeoning world of design and its evolving role in communicating status the way a highly coveted watch or luxury fashion once did, Jesse's mindset is one to emulate. His perspective is especially valuable for those seeking their own point of convergence where passion and purpose meet in a way that is both meaningful and profitable. "It's not just about the work ethic, but also about wanting to learn. If it wasn't for that mindset, I don't think I'd be able to learn from music, fashion, technology, art, design, culinary—whatever it is. That's sort of been the mantra since day one." - Jesse Lee  Design.Space will showcase a curated selection of archival and contemporary pieces from top artists, designers, galleries, and brands, including: Alexander May, AMEN, Archived, Avery Wheless, Brett Robinson, Brian Thoreen, Cadogan Tate, David Kelley, Enorme, Ettore Sottsass, Found Objects, George Davies, GUFRAM, Guido, Jahlil Nzinga, Jean Pigozzi, Jeffrey Deitch, Jess Hannah, Jeaux de Peau by Purienne, Justin Reed, Keiko Moriuchi, Laura Sattin, Leyla Fisher, Lily Clark, Marcin Rusak, Marquel Williams, Marta, Max Lamb, Memphis, Meritalia, Michelle Jane Lee, niceworkshop, Nick Thomm, Nike, NM3, NO GA, Paulin Paulin Paulin, Period Correct, Puck, Raiffe Glass, Roham Shamekh, Sabine Marcelis, Sam Klemick, Same Old/BASA Vintage, Sasha December, Spaceless Gallery, Stephanie Ketty, Stickymonger, Studio Ker, The Future Perfect, The Pink Lemonade, Tokio., Tristan Marsh, Tsu Lange Yor, USM, Verre d'Onge, Wexler Gallery, Willo Perron, Yung Jake & more to be announced soon. Episode Highlights: Jesse Lee's Journey from Intern to Industry Leader – How his relentless curiosity and willingness to do any job led to his success in music, fashion, and design. The Birth of Basic.Space – Why Jesse created Basic.Space as a curated platform for creatives, and how it evolved into an ecosystem connecting sellers, collectors, and brands. The Acquisition of Design Miami – The strategic move behind Basic.Space acquiring Design Miami, and how the two entities complement each other. The Concept Behind Design.Space – How Jesse is bridging digital and physical retail by creating a hybrid shopping experience that blends the best of Basic.Space and Design Miami. The Shift from Fashion to Design – Why luxury consumers are now more interested in furniture, objects, and design than traditional status-driven fashion. The Strategy Behind Invitation-Only Shopping – Why Basic.Space is moving to a membership-based model and limiting access to its most engaged customers. Curation as the Key to Modern Luxury – How brands and platforms must focus on thoughtful selection rather than mass availability to stay relevant. The Role of Physical Events in a Digital World – Why Jesse believes creating real-world moments is critical, and how Design.Space will redefine the shopping experience. The Importance of Intersectionality in Business – Jesse's belief that success comes from mastering multiple industries—fashion, music, technology, art, and design—rather than specializing in just one. Why Push Marketing Is Over – Jesse's philosophy that the best brands don't chase customers but create experiences that naturally pull the right people in. Learn more about your ad choices. Visit megaphone.fm/adchoices

We often bring up the idea of humanity on this show, exploring the anthropology of it all with the creative industry as our backdrop. When sitting down to speak with the absolutely lovely Francesca Burns about her journey - and all of the people, places, and things that have shaped it - we have the opportunity to go beyond the obvious and touch on the human interest of it all. From her early days with Kylie Minogue, the prolific career she's enjoyed working across titles and brands like i-D, British Vogue, Italian Vogue, Self Service, Beyond Noise, Chanel, Gucci, Louis Vuitton, Nensi Dojaka and her own magazine, PRINT, Burns takes us on an even more holistic journey in this conversation as we move past the obvious benchmarks and begin to explore possibility through the unlimited power source that is inspiration. "You can't bend and shape yourself to meet other people's expectations. It's absolutely impossible. And what each of us has is completely unique to us. How we see the world is completely unique to us. I think there's no limit to what we can do if we're inspired." - Fran Burns Episode Highlights: Fran's career in fashion first began in music when she assisted the creative director for Kylie Minogue.  Finding her way into the fashion side more officially, Fran started working in PR, where she discovered that styling and magazines were what really lit her up. Prolific stylists such as Joe McKenna, Alex White, and Jonathan Kaye were among those Fran assisted as she came up in the industry. After deciding that the format of most magazines felt ripe for change, Fran, along with her friend and collaborator Christopher Simmonds, decided it was time to start their own project, PRINT. Emphasizing the importance of viewing the necessary changes around sustainability as an evolution rather than a revolution, Fran reminds us to focus on progress rather than perfection as we all work together to achieve lasting and meaningful change. Deciding to study nutrition, Fran discovered the holistic approach to life as something that went beyond personal routines and lifestyle choices, eventually qualifying as a transformational coach. Refusing to be relegated to any one role, Fran is a stylist, consultant, creative director, publisher, and mentor, viewing this variety of creative outputs as an integral part of who she is. Working with both individuals and brand clients, Fran's coaching has provided her with a way to bridge the gap between where we are and where we want to go, helping people realize they have the capacity to take the necessary steps toward achieving their goals. Fran points out that it's impossible to shape and bend ourselves to the expectations of others, suggesting instead that we should lean into whatever lights us up, even if it's outside of the industry we've chosen. If it's feeding us, it's also opening up our point of view even more. Leaving us with a simple yet powerful message, Fran believes that there is no limit to what we can do as long as we are inspired. Learn more about your ad choices. Visit megaphone.fm/adchoices

Daniel Arnold's work can be seen anywhere one consumes visual content, whether it's on the walls of a gallery, the cover of a magazine, or his own well-engaged Instagram feed. But beyond the humanity captured through his lens—with all its bells and whistles of what makes the individual an interesting subject—is the humanity of Daniel himself and the speed with which he can disarm you with his contagious brand of honesty. Speaking to generally relevant subjects as much as his more personal anecdotes, with the same level of fluency that somehow always sounds informed yet ever questioning, the trending power of relatability is alive and well in this episode. Pointing out that we are all well-trained to be entertained while living in this culture of distraction, the former writer-turned-photographer and director believes that anyone can tune into the frequency of viewing life as a source of entertainment rather than as something to validate us or prove our value. More than anything, in an era brimming with more questions than answers, Arnold leaves us with a multitude of soundbites to ponder long after the episode ends. "Letting go of any kind of visualized destination, any kind of idea of what was—what was the right way to do things—and just being kind of fluid and, you know, brave in a way that didn't come naturally to me. But it sort of enforced this new counter-nature, where I had to survive. So I did." - Daniel Arnold  Episode Highlights: As the oldest of six kids, Daniel Arnold understood by the age of 11 or 12 that he would need to create his own world, entertaining himself while concealing his struggles and ambitions. He chose to only share fully formed ideas, appearing effortless and free from struggle. At just 23, the Milwaukee native arrived in New York City where he found a job writing for Viacom. Having grown up in a big family, he understood the value of fleeting moments captured through photography and found himself as a storyteller and a keeper of life's precious and hilarious moments. Living off toast while navigating the waves of poverty that almost every young and new artist seems to endure at some point, Daniel's early years as a freelancer were no stranger to the learning opportunities found in struggle. With a growing body of work, the inspirational highs and lows of discovering the next great image that has always fueled him can sometimes prove even more challenging. Recognizing that we've all been trained to seek entertainment in this culture of distraction, Daniel believes we all have the ability to tune into a frequency where we can see life as a source of entertainment, rather than as a means of validation or proof of our own value. Like anyone who has battled imposter syndrome, Daniel says he's been scared enough times to know to trust the process. A master of metaphor, Daniel compares digital photography to a conversation with success, while film is one with failure, simply because each frame is a risk without any guiding screen or preview. According to Arnold, we've become thirstier for control and perfection than ever before, and as a result, it's imperfection that has become more gorgeous and human than ever. Learn more about your ad choices. Visit megaphone.fm/adchoices

The audacity of achievement is beautifully illustrated in the story of LUAR's Raul Lopez, whose show has been one of the most anticipated at New York Fashion Week for several seasons and counting. Having discovered the power of stepping away when necessary, his process is one we can all learn from when it comes to fueling our own dreams and rediscovering our sense of purpose. The miseducation of humility can all too easily convince us that playing small does anyone favors—or even that it might make us better people. But Raul? He's not here to ask for permission. Whether it's one of his designs becoming a cultural phenomenon or the media spectacle surrounding his shows, the New York native has brought a newfound excitement to what has often been considered a somewhat staid schedule for the city's fashion week. Ahead of his next show, we sit down with the designer to learn how one might weave a world as wide-reaching as his, the irrelevance of things like social class, and to better understand the reality of a life where dreams come true. "I don't care who you are. I don't care if you're a celebrity. I don't care where you come from—if you're from the hood—I treat everyone the same. And I think you can see that at my show." - Raul Lopez Episode Highlights: A New York native of Dominican descent, Raul Lopez first came onto the fashion scene by launching the brand Hood by Air with Shayne Oliver in 2006 before going on to launch his own brand, LUAR, in 2011.   After leaving HBA, Raul spent time living in the Dominican Republic while seeking to connect with his cultural roots beyond being part of the diaspora.   Raul has always found sanctuary in visits to his grandmother's home, where she has an entire room set up as an altar. He still goes there before his shows every season to this day. Spirituality, rather than religion, remains one of the cornerstones of his creative process.   Growing up in Brooklyn, Raul's creative inspirations have been drawn from an array of cultural reference points and figures, ranging from Hasidic Jews to the sex workers he often saw on the streets as a kid.   Initially naming his brand LUAR as a strategic move to avoid preconceived notions associated with a Latino name, Raul eventually decided it was time to embrace being Raul—not just LUAR—leaning into the wealth of creativity and culture he grew up in rather than shying away from it.   Culture is currency, and learning to live as your true, authentic self becomes currency. Raul has built his brand with this mindset.   After spending too much time trying to prove himself—designing despite never having received a formal education—Raul realized he had become depressed and no longer wanted to be in fashion. During this time away, living in the Cayman Islands, he discovered the powerful force of self-love and returned with a renewed perspective.   Raul views his brand as a platform—not just for himself but for others—seeing his designs as catalysts that help people discover their own truths.   Encouraging his team to step away when needed, Raul emphasizes the importance of learning who you are, loving who you are, and letting go of the fear that taking a break means being forgotten. Learn more about your ad choices. Visit megaphone.fm/adchoices

Under Michael Kliger's stewardship, Mytheresa has emerged as perhaps the most profitable platform of its kind. Unlike its sprawling competitors, Mytheresa thrives on a philosophy of precision—offering a tightly curated selection shaped by an intimate and ongoing dialogue with its discerning customer base. Where most brand events aim for maximum visibility and the optics of adjacency to “the right people,” Mytheresa takes a different route. Their gatherings are a masterclass in exclusivity, designed with their fiercely loyal repeat customers in mind—a rarefied echo chamber that isn't trying to be everything to everyone, but everything to the few who matter most when it comes to their bottom line. "You need to define your audience and then be as good as you can to serve them and to stay close. Again, it's this dichotomy of they are looking for inspiration, but they're not willing to scroll through 500 depictions of products" - Michael Kliger  Episode Highlights: The son of two entrepreneurs, Michael Kliger decided to study business and initially pursued consulting while being unsure of which sector or function he was ready to fully commit to. After spending 12 years in retail, but never in digital, he made the move from McKinsey to eBay to gain a deeper understanding of the marketplace that was rapidly becoming the present and future of commerce. Michael recognized early on that the customer experience is the cornerstone of a company's success, whether in digital or brick-and-mortar environments. Rather than tell them what they wanted, he first asked. While more complex designs and customer experiences emerge with the expansion of technology and its capabilities, Michael committed early on to having their content strategy guided by a deliberate simplicity. Understanding that their customer had significant buying power but a limited budget when it came to time, he quickly learned that their role was to inspire while curating a thoughtful, edited selection that met their customers' unique needs. Ultimately putting forward a smaller, yet more targeted, offering than their competitors. Like many others in the luxury sector, they have recognized and began catering to the growing demand for new categories, particularly in home and decor. Partnering with brands like Dries Van Noten and Valentino, part of their distinctive offering includes frequent capsule collections or exclusive product drops. Despite the platform's ongoing and impressive success, Kliger describes their strategies as being in a constant state of evolution, likening it to a snake shedding its skin. A firm believer in the importance of consuming data points—whether through personal anecdotes, customer feedback, or other sources—Michael highlights how new ideas often emerge when different pieces of information suddenly connect. Michael also discusses the acquisition of Net-a-Porter and its implications for the future of both companies' respective businesses. Learn more about your ad choices. Visit megaphone.fm/adchoices

While many in the fashion industry were already well-versed in the work of journalist Lauren Sherman, the early days of The Line Sheet sparked rumblings across the dinners and drinks that often define the social musings through which the industry connects. Having captured everyone's attention, she went on to launch her podcast, Fashion People, and has since amassed a dedicated audience. In this episode, Lauren shares her personal journey while helping us dissect the cultural moment we're navigating—a world fractured into countless niches yet searching for universal connections. From the evolving role of journalism in an oversaturated media landscape to the rise of authenticity as a cultural currency, Lauren offers a compelling look at what it takes to thrive in a world that rewards staying true to yourself. “There's no need to compare yourself to other people because everybody is coming from a different perspective. And so, I don't believe in objectivity in any way. I think that people who claim it exists should strive for it, but you also have to know that it's not a real thing.” - Lauren Sherman Episode Highlights: Lauren knew at a young age that she was interested in journalism, specifically fashion, but somehow ended up studying computer programming first. Her two biggest influences early on were Liz Tilberis and Jane Pratt, who were the editors of Harper's Bazaar and Sassy, respectively. The business aspect of her career in journalism was not planned, but it was the first way she found to get into the industry. Having come up during the time when conglomerates like Kering and LVMH were first taking shape, and the industry was rapidly becoming big business, she learned early on how important the business aspect of the fashion conversation actually was. Joining Fashionista during the heyday of blogging, Lauren was suddenly expected to churn out several pieces a day. It was there she learned to write without having time to pick up the phone to sources and instead relied more exclusively on her own perspective about the topics she was writing about. Despite being rooted in fashion, both The Line Sheet and Fashion People speak to broader cultural issues, from Ozempic to musical chairs with creative directors at major fashion houses. Lauren breaks down the reality behind the seismic shifts in the luxury sector and consumer behaviors shaping them. The impressive efficacy of certain creative choices is often beyond the reach of data farming and analytics platforms, and can end up getting overlooked by those who now exclusively let data govern their choices. Critical thinking is not taught in schools, and the impact of that missing link is evident in the cultural behaviors we often encounter today. According to Sherman, we live in such a fragmented culture that, to succeed, you must truly understand what's right for you and do what's right for you. Those who do that often achieve significant success. Learn more about your ad choices. Visit megaphone.fm/adchoices

Comment sections are often awash with bold opinions, many of them originating from anonymous or private accounts. Some might attribute this to the suffocating grip of modern political climates, while others may see it as little more than cowardice in action. Yet today, anonymity is no longer confined to the comment box; it's spilling over into the growing world of creator accounts, where individuals deliberately choose to remain faceless. For today's guest, freedom of speech is at the heart of this decision, and, let's face it, part of what makes it so compelling is the unshackled nature of content that exists beyond the constraints of identity—content untethered from the finite definitions that attach themselves to people, with all their associations, traits, and the labels that so often reduce us to mere concepts. The debate around regulation and fact checking is, of course, alive and well, particularly in an age where information battles are fought daily. But how much weight does this carry in the world of fashion media? Well, the jury's still out—but Boringnotcom, naturally, has something to say about it. “I feel like there's always going to be those people who are going to want to be anonymous because not everyone wants to be in front of the camera.” - Boringnotcom Episode Highlights: Boringnotcom is an avid YouTube user who once contemplated becoming a creator on the platform, only to ultimately realize they didn't want to be in front of the camera. Originally inspired by content creator @stylenotcom, they were drawn to the catchy nature of the blue squares—while finding it a tad reductive—and believed they could do something better. Having found the fashion industry to be repressive and confining, especially when it comes to having an opinion and constantly considering advertisers, @boringnotcom was created as an opportunity to break free from those constraints and speak without filters. While the account offers plenty of personal opinion, much of its content resonates with others' experiences, touching on topics like DEI and the challenges often faced in the industry. They remain 50/50 on whether this account, originally started for a bit of fun, will be shut down or continue, as demand for their content continues to grow. For @boringnotcom, Anna Wintour has done an incredible job, but fashion no longer allows for any one figurehead to dominate. When it comes to collectibility, they've never considered Self Service a magazine—after all, magazines, for them, are something you throw away. Luxury, for them, has had the creativity drained by the greed behind the machine. Today, one has to search extensively to find something truly different amidst the widely accepted codes of major houses. The conversation around DEI, sustainability, equal pay, and gender equality must continue—not just in fashion, but in the world at large. For @boringnotcom, being contemporary means practicing freedom of speech and fearless creativity. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Best Performances issue of W Magazine is here, marking the unofficial start of awards season with its iconic event this past weekend. To kick off our own season, we're sitting down with the woman behind it all: editor-in-chief Sara Moonves. Born into a world of celebrity and culture in Los Angeles, Sara's path to leadership was anything but handed to her. From high school internships to assisting legends like Sally Singer and Phyllis Posnick, she built her career with determination and a deep passion for the arts. As W's first female editor-in-chief in its 53-year history, Sara has revitalized the brand, expanding its print cycle to meet the demands of its thriving digital audience. Today, W Magazine remains a collectible beacon of creativity, bridging the worlds of art, cinema, music, fashion, and celebrity. Episode Highlights: Moonves grew up in Los Angeles, voraciously consuming arts and culture from a young age. While still in high school, Sara interned at Vogue and later assisted legends like Sally Singer and Phyllis Posnick before becoming a fashion editor herself. Upon inheriting a nearly defunct W Magazine as its new Editor-in-Chief, Sara had to convince reluctant advertisers that the brand was still a worthy investment. In March 2024, W debuted its first digital cover featuring Beyoncé, timed to the release of her album Renaissance. The most awarded artist in Grammys history generated over 3.5 billion press impressions and 348 million social impressions, sparking overwhelming demand for a print edition. While other print publications scaled back their number of print editions due to industry-wide reductions in readership and ad spend, W's print issues were so successful that the brand added another to its lineup in 2024. Overall, W Magazine saw double-digit revenue growth year-over-year in the first half of 2024, encompassing all three platforms: print, digital, and experiential. By bringing cultural icons like Steven Spielberg into the fashion fold for the first time, W's brand world and content offerings are often more varied than many of its contemporaries. Sara became the first female Editor-in-Chief in the brand's 53-year history. Published by Rizzoli in 2022, W Magazine: 50 Years/50 Stories was the first of what Sara envisions as many brand extensions that leverage the magazine's storied history. For Sara, being contemporary means pushing boundaries, tuning out the noise, and always moving forward rather than backward. Learn more about your ad choices. Visit megaphone.fm/adchoices

As the curtain falls on one year and rises on the next, we find ourselves poised at the edge of a new season—one brimming with conversations that illuminate the creatives shaping, and at times challenging, the culture of today. These are the architects of their own narratives, and as we wander the corridors of their storied lives, we uncover the alchemy of realized dreams, the art of navigating uncertainty, and the wisdom to know when to push forward and when to step back. This season's roster of editors-in-chief, designers, journalists, CEOs, creators, and talents invites us to ponder not just the answers they offer but the questions they compel us to ask ourselves. Join us as we embark on this journey—new episodes every Monday, starting January 6th. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's that time again where we end the season and take pause to review where we've been, where we are, and of course where it is that we'd like to go with this conversation. As always, we want to hear from you, our listeners. What type of topics you'd like us to tackle. Who are your dream guests? DM us on Instagram or email us at info@whatscontemporary.com. If you've enjoyed the show, leave us a review and we'll be back soon with more episodes answering the insatiable question, whats is contemporary now? Learn more about your ad choices. Visit megaphone.fm/adchoices

Suzanne Koller, a Paris-based fashion stylist and art director, is renowned for her impactful contributions to the fashion industry. Cofounding Petronio Associates in 1993 and Self Service Magazine in 1994, she worked with prestigious clients and curated a unique creative vision. Transitioning to become the fashion director of Vogue Paris and later M le Magazine du Monde, Koller continues to shape the industry with her collaborations and editorial work. More interested in holistic artistry than anything else, Koller keeps herself out of her comfort zone to stay curious and true to herself—which is what's contemporary now.  Episode Highlights: Koller, who was born and raised in Vienna, feels “very Austrian.” She moved to Germany, and then to Switzerland, where she studied graphic design. She's lived in France for over 30 years.  Knowing from her teen years that she wanted to be an art director, Koller saw the glamour of working for a magazine. She became an intern at Elle magazine in Paris before interning in graphic design at Glamour—where she was first introduced to the idea of working in fashion. As a consultant, stylist, and art director, Koller found it exciting to make her own way with Self Service and to change hats, working with smaller magazines to avoid creative constraints. Koller focuses less on fashion and more on individual subjects, orienting herself toward documenting women through time in collaborative projects.  Driven by long-standing obsessions, her current interest is finding emerging talent and working with a new generation of creatives. Keeping herself out of her comfort zone helps maintain her energy and curiosity even as she considers herself a workaholic.  Koller is not driven by nostalgia but more inspired by the now, whether in the supermarket perusing ingredients, going to a museum, people-watching, or taking a flight. She believes in the significance of “emptying [her] brain” periodically. In an age of over-engagement with social media, what's contemporary to her now is staying true to oneself. Learn more about your ad choices. Visit megaphone.fm/adchoices

Melitta Baumeister and Henry Zankov, the 2023 CFDA/Vogue Fashion Fund winner and runner-up, are two trailblazing designers working at the intersection of quality and artistry, exploring the tension between fantasy and commercial viability one thoughtful design at a time. Baumeister, a celebrated designer known for her sustainable and ethical approach, launched her eponymous brand in 2011. Her innovative designs merge modern aesthetics with a commitment to environmental consciousness, setting a high standard for sustainable fashion. Henry Zankov, who debuted his label in 2019, combines avant-garde design with exceptional craftsmanship. His background—from his Russian roots to his American influences—shapes his unique, trend-defying vision. Both designers present a singular take on the importance of intention, curiosity, and sculpture—and how to run a label as a business. For Zankov, fashion's ability to express intention is what's contemporary now, while Baumeister sees “being concerned about the future” as the zeitgeist. Episode Highlights: Born into a family of tailors in Germany, Baumeister studied tailoring and fashion from an early age.  Zankov was born in St. Petersburg, Russia, and arrived in the US at the age of nine. Growing very close to New York City in the '90s, his first interactions with English and the West were mediated through MTV. Launching his own label in 2019, Zankov was interested in creating a recognizable visual language unique to his perspective after working as a consultant for years. To Baumeister, production difficulties are “finding the right people to work with; being so many positions in one, from the production manager to the pattern maker to handling sales; understanding even how wholesale and fashion is working.” Zankov speaks about the need to “reset” how we consume, living slower and more intentionally curated lifestyles. Regarding the tension between fantasy and commercial viability, Baumeister says her solution—at the intersection of artistry and sales—is “all in the fabric.” Zankov starts with a concept every season, aiming toward a curious customer with inner soulfulness and wisdom. Both designers cite the CFDA Vogue Fashion Fund as an incredible support for their creative practice. Baumeister notes that wholesale gives more reach and territory, while direct-to-customer sales offer more constructive feedback and relationship-building opportunities. Zankov highlights the importance of using both, though DTC allows him to make more accessible garments. Zankov sees fashion's ability to express intention as what's contemporary now, while Baumeister sees “being concerned about the future” as the zeitgeist. Learn more about your ad choices. Visit megaphone.fm/adchoices

Set and Production designer Shona Heath creates enchanting, dense, and detailed worlds. Dreams within themselves, her visions have been manifested across the pages of top publications, and in collaborative partnerships with the likes of Tim Walker, Louis Vuitton, Dior, Prada, Miu Miu, and SHOWstudio. Her style seamlessly blends contemporary and vintage elements, showcasing a unique, fantastical aesthetic—brought to life through paper sculpting, painting, photography, and prop-building. Most recently, her work on Yorgos Lanthimos's 2023 film Poor Things won an Academy Award for Best Production Design. In an age of worldbuilding, Heath shares a journey from the countryside to imagining entire realms, underlining that creativity plays a role in designing our everyday lives. Episode Highlights: Growing up in the British countryside in a modern sixties home, Heath remembers an upbringing spent outdoors, where she became intrigued with visions of scale; her mother's crafts were also a deep influence.  She started her career in costume design and was moved to create a set from paper for Dazed, which turned into requests for shop windows and later collaborations with Tim Walker.  Heath's creative process begins with words or an image, but usually, the former encourages original image-making and visualizing. She sees tools like AI as potentially good research tools but detrimental to her own particular craft; its use depends on the artist and their authenticity. She recommends working independently rather than starting as an assistant to an established artist, as then you know how to forge your own path first.  Though she used to feel that she experienced “excessive input” when doing a project, she now feels she can better communicate her vision and appease clients and collaborators up front.  She prefers the immediacy and direct access of working in photography to working on film sets; Heath remarks she wouldn't be interested in doing a period piece that didn't have an added element of creativity like Poor Things—a film she worked on with James Price, whose decades of film expertise Heath leaned on.  Fashion's tendency for retro revisits and zeitgeist trends plays well into her work (as opposed to interior design, which she says has more of a lag time between trends and the trend's appearance in the culture).  Her work on Poor Things won her an Academy Award for Best Production Design. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dara is a model, stylist, and fashion director at Interview magazine. From her beginnings in San Diego to the iconic runways of New York, Dara speaks of a journey that is a testament to creativity and conviction. Recognized for her bold, visionary style, she views fashion as an art of crafting desire and glamour, where the method of persuasion is as crucial as the message itself. Her styling for Hunter Schafer and Troye Sivan highlights a unique blend of raw talent, intuitive expertise, and hard work. She's walked the runways for Marc Jacobs, Kenzo, and Moschino; posed across the pages of Vogue and Harper's Bazaar; and styled for an impressive array of brands like Calvin Klein, Tom Ford, and Miu Miu. What she sees as contemporary now is everyday optimism—and fluidity in interpretation, just like images. Episode Highlights: Growing up in San Diego with a creative mother and a pop-culture-obsessed father, Allen recalls watching Disney movies, writing in cursive, immersing in arts and crafts, and wanting to be an animator.   She describes herself as a child being in her own “little world,” a feeling that contributed to her strong sense of self as an adult. With a level of conviction required for creative pursuits and an early interest in image-making, Allen cherishes the performative aspects of both modeling and styling. Her career in New York took off quickly, through connections to Candy magazine, the VAQUERA label, and stylist Ian Bradley.  Allen says the unique thing about her generation's access to information—and noise—is “this real emphasis on understanding your history and the context and everything that kind of surrounds what we're doing.”  Allen became fashion director at Interview magazine, thinking of the role as writing with clothes and writing with photos.  She recognizes a sense of absurdity in the fashion world and emphasizes the performative aspects of everyday life.  When asked what's contemporary now, Allen says, “optimism; levity,” and speaks to enjoying even the challenging parts of the work, and fluidity.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Zoe Ghertner is a photographer renowned for captivating work blending art, fashion, and documentary storytelling. With a keen eye for detail and an innate sense of composition, Ghertner's imagery transcends conventional boundaries. A New York native based in Los Angeles, her work often reflects the vibrant energy and diverse landscapes of Southern California. Ghertner's portfolio includes collaborations with leading fashion brands, such as Miu Miu, Chloe, Wales Bonner, and Hermès, as well as publications, such as American and British Vogues, i-D, Self Service, and W. Through her lens, she invites viewers into a world where reality and imagination converge. Episode Highlights: Ghertner had a very imaginative childhood, where she learned the importance of positive, clear messaging.  Ghertner has partnered with Fee Steinvorth to create neoNutritions, a new vision of wellness rooted in spirituality and connection, with more of an interconnected focus on education compared to other health and beauty regimes. She sees what's contemporary now as a sense of connectedness that resonates despite a modern overabundance of images.  Saying that photography and consumerism go hand in hand, Ghertner speaks to the struggle to achieve and sustain commercial success while also holding to the values deeply rooted in her work, such as unwavering attention to her subjects. Despite working with digital imagery and print media across personal projects and commercial collaborations, Ghertner says each effort informs another and that she's a natural multihyphenate creator. Her first shooting of model Małgosia Bela was a breakthrough in “being able to work with someone with skills and ability.” She went through a phase of digging deeply into her subjects before garnering enough experience to represent that research and those conversations in the final imagery.  The support of women in the industry—such as Phoebe Philo, Miuccia Prada, Grace Wales Bonner, and Gabriella Hearst—has “allow[ed] me to grow and step into their worlds, which expands what my picture is about as well.”  Speaking to how images can traumatize or trigger elements of culture as a whole, Ghertner says her reaction to the male gaze and mental health advocacy are “a big part of the what and the why of how I'm making the pictures I make.” Having moved to warm and sunny California to experience a better quality of life, Ghertner experienced a shift in perspective akin to experiencing motherhood for the first time and creating a new body of work—and a new book.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Editor-in-chief of all la Repubblica magazines, Emanuele Farneti, is an influential figure in the fashion and design industries. Born in Italy, Farneti's career trajectory skyrocketed as he took the helm of esteemed publications like Vogue Italia and L'Uomo Vogue. His keen eye for style, commitment to innovation, and passion for storytelling have propelled these magazines to new heights, earning him global accolades. A fusion of tradition and modernity characterizes Farneti's leadership, analyzing the DNA of magazines to establish and evolve a language and direction better suited for contemporary society. Episode Highlights: He comes from a family of journalists who worked for Italian weekly “Panorama,” so he was “literally born within a newsroom” and has “childhood memories of the good old days of print media, where this group of talented journalists in their 30s, in the middle of the 70s were having a lot of fun playing poker and doing beautiful newspapers.”  Informed by a classical education, he studied law while training as a television and print media journalist, starting with sports before moving on to fashion. Known as “a true magazine maker,” Farneti knows the importance of working with a brand's DNA, which he says can evolve but should remain true to itself.  Remembering Vogue Italia's pandemic coverage, Farneti remarks that the ability to use fashion to address largerquestions and have a voice about what's important is crucial.  As the director of D-la Repubblica, he's adept at addressing a general audience with various and surprising topics united under the banner of good writing.  Focusing on making the most beautiful monthly-style, weekly-produced magazine possible, D sets itself apart for the quality and depth of its reporting in beauty, fashion, society, art, and lifestyle sections. The three limits of D as a print magazine: 1) it takes a long time to come together and is in circulation so briefly. 2) print quality and paper are low when working on a weekly basis. 3) there's no international distribution.  One of the issues he's more proud of came out last year and was completely dedicated to Afro-Italian or second-generation Italians, conceived, styled, and photographed by second-generation Italians themselves. The magazine is launching a men's monthly on June 24. With D, Farneti oversees three different titles plus a newspaper covering the broader spectrum of fashion and beauty. When asked what's contemporary, he says teamwork, and that his coworkers “are all bringing so many ideas, so many opportunities and such a good energy to the magazine.”  Learn more about your ad choices. Visit megaphone.fm/adchoices

Italian fashion designer Francesco Risso is renowned for his offbeat, innovative approach to contemporary clothing. He learned how to cut and sew from the age of eight with any fabric he could find, going on to study fashion at Florence's Polimoda, New York's FIT, and London's Central Saint Martins. As creative director at Marni since 2016, Risso gained prominence by infusing the brand with vibrant colors, eclectic patterns, and playful aesthetics. His charming exuberance and unique ability to blend craft with modernity sets him apart and captivates audiences worldwide. What he sees as contemporary now is simple and uncontrolled by trends and a fast-paced industry: food and sex. Episode Highlights: Risso's early years were spent not talking in a hectic and blended family home in Genoa, where he communicated by making things with his hands. At 8 or 9 years old, he began making clothes, scavenging clothes from his grandmother's closet to cut and sew. Studying the classics and art, Risso “escaped” from his loud family by moving to Florence, knowing he would make clothes.  He found in the dance, clubbing, and rave scenes a way to escape from the constrictive traditional forces in Italy at the time when he considered himself goth and an outsider. “Provocative, and visceral, and obsessive.”: Risso talks about how he accepts a darker side of his outlook as a complement to his lighter and romantic side. He notes one of his mentors, Louise Wilson at Central Saint Martins, taught him to base a world around a garment without using typical fashion references.  Risso read a Virginia Woolf piece in which she invites her friends to the countryside and tells them not to bring clothes, as to leave behind a kind of social structure, and this inspired him to lose reference points.  On the secret of merging creative freedom with commercial success, Risso champions trust, pleasure, and courage,and living in the moment rather than for the final product. Marni Jam is one example of interdisciplinary creativity that Risso works into the brand, expanding music into fashion. To Risso, what's contemporary now is “sex and food”—two exchanges he finds beautiful in that they build community. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pierre Rougier, a distinguished fashion publicist and founder of PR Consulting, boasts a career spanning several decades. After studying political science in Bordeaux, Rougier honed his skills in Paris and London with Hermès, Yohji Yamamoto, and Maison Margiela before making his mark in New York in 1993. There, he directed communications while representing icons like Helmut Lang and Alexander McQueen. Establishing PR Consulting in1997, he catapulted emerging talents like Narciso Rodriguez and Nicolas Ghesquiere, then at Balenciaga, to prominence, also fostering brands like Proenza Schouler and Hood By Air. Renowned for discovering and championing young designers, Rougier continues to hold the opinion that a strong vision and sometimes counter-trending codes are often the precursors to a designer's success. Episode Highlights: Rougier grew up far from the front of culture, and though his interests in fashion were indirect at first until he moved to Bordeaux—a larger city—to study.  He started his work in fashion boxing Hermes products before moving to London, still employed at Hermes, learning English and partaking in '80s gay club culture there. Yohji Yamamoto employed Rougier to work a PR position, giving him his first taste of serious work and long hours associated with the industry. Using his London connections, he opened his own PR firm as the Antwerp Six were coming into the spotlight, and worked under Martin Margiela for four years, until he felt that his aesthetic and vision were too overwhelmingly connected to that one house. Moving to New York, Rougier worked as communications director for a company that held brands like Vivienne Westwood, Helmut Lang, and Michael Kors. Rougier speaks on learning that the antithesis of what's trending is always on the precipice of an arrival. He says the conversations in fashion are less now about what designers like and more about what designers find that works, and is successful.  Before the internet, there were few photos of shows and most people waited to see items in stores to determine the zeitgeist; now, Rougier says, the urgency of marketing makes everything “extremely transactional.”  He says it's fair to say that in fashion, elitism has trended out with a shift to exclusive community identities. Learn more about your ad choices. Visit megaphone.fm/adchoices

Willa Bennett, a trailblazing force in media, is the editor-in-chief of Highsnobiety, steering the publication to new heights of innovation and influence. A Forbes 30 Under 30 luminary, her journey began at Seventeen, pioneering its queer vertical before igniting social strategies at GQ, and championing diversity as Condé Nast's global co-chair. The American Society of Magazine Editors recognized her for social media excellence and video programming, and her leadership at Highsnobiety garnered recognition in the Digiday and Muse Awards. Highlighting the importance of authentic narratives in connecting with young audiences, what she sees as contemporary now is pushing the boundaries and shaping the future of media—even if that means tuning out the background noise and tapping into real community.  Episode Highlights: Bennett grew up in LA, balancing two passions: masculine menswear magazines and hyper-feminine ballet practice. Talking about her early passion for vintage finds and retro styles, Bennett says experimenting with styling became another medium for her, “like writing.” She grew up reading publications like Teen Vogue, Seventeen, Nylon, and Dazed—publications she says understood young consumers and which she still keeps a few print copies.  Bennett moved up through various roles in the industry at a time when social media marketing was in its more raw, early stage. Her role at Highsnobiety gives her creative freedom in that it moves with the youth culture and its fast-paced, creative, adaptive, and reactive workplace environment. Bennett is ahead of the curve, balancing personal perspective with editorial consideration and curation. Her team at Highsnobiety pushes a particular and intentional editorial vision, championing designers and talent that they want to carve out a space for.  Some of Bennett's favorite cover stars have been Billie Eilish, Andre 3000, and Pamela Anderson, though she felt strongly about the Dries Van Noten cover.  Bennett has spoken about forming real connections as a priority over solely professional relationships, despite how “transactional” the industry can be.  Under Bennett's eye, Highsnobiety's niche is to move in tandem with the zeitgeist instead of against it, never telling readers what to do or who to wear.  Bennett considers real-life events crucial to foundational community building, saying, “that to me is a way bigger metric of success than like any influencer with 16 million followers posting one slide that everyone's going to skip over anyway.”  She's published poetry collections benefitting The Audre Lorde Project for queer youth.   For Bennett, deleting social media is what's contemporary now, surprisingly.  Learn more about your ad choices. Visit megaphone.fm/adchoices

FRAME cofounder and chief creative director, Erik Torstensson, is a pioneering figure in the fashion industry. He created Mr. Porter, co-founded and led creative agencies Saturday Group and Wednesday Agency, and co-founded and helmed Industrie magazine. With a keen eye for branding and digital strategy, Torstensson has successfully deployed unique marketing and communication approaches across his roles. He's driven FRAME's global reach through culture-catching campaigns and collaborations, often fronted by top talents like Gisele Bündchen, Karlie Kloss, and Amelia Gray. As an outside-of-the-box thinker, he shares insights into conscious design, digital strategy, brand partnerships, and his recent obsession with AI. Consistently setting new standards for what's contemporary, Torstensson advocates for curiosity, naivety, and the restless courage that comes from using an outsider's perspective to his advantage. Episode Highlights: Growing up as an only child on a farm in the Swedish countryside, Torstensson remarks on the importance of boredom to his creative development and the necessity of simply finding something to do.  Slow-paced life didn't suit him. He began to enjoy traveling, dancing, and skateboarding, which held both collaborative and independent creative potential. After working at interiors magazine Wallpaper, Torstensson helped launch Industrie and Man About Town magazines—the former had cover stars like Anna Wintour, Edward Enninful, and Naomi Campbell.  Outside of quantitative efforts in brand identity, ad campaigns, and editorial work, Torstensson says, “It's not really about you. It's about who you work with, who you surround yourself with.”  FRAME was a community-led “passion project” stemming from Industrie. It was built not necessarily on denim but on the idea of perfecting any single product with a particular aesthetic in mind, in this case, “the FRAME woman.”  Working on a budget to produce and market FRAME's aesthetic has led Torstensson to think out of the box. Torstensson discusses a brand's life cycle and its different versions, from starting out as a hot newcomer to becoming more organized and productive to later cutting through the media landscape with more sensational marketing.  On the level of scale and production, AI gave Torstensson a great new tool he likens to Photoshop, making him quicker and more effective.  Having a strong team, a partnership with Jens Grede, and the luxury of slowing down have gone hand in hand with an increase in confidence in his work over the years. He foregrounds the importance of knowing your strengths and leaning into them, going with your personal passions—“Just do it.” Torstensson recommends reevaluating what's contemporary and what will last every five years or so, not being afraid, and learning to evolve. Learn more about your ad choices. Visit megaphone.fm/adchoices

James Harris and Lawrence Schlossman, hosts of the podcast Throwing Fits, are influential figures in menswear with decades of fashion and media experience. Hailing from New Jersey and Manhattan, respectively, Schlossman and Harris lend their understanding of men's fashion to those in the know, with their podcast featuring guests discussing current fashion trends and personal style. As makers, they've begun designing sought-after garments like mesh shorts and cut-and-sew overshirts. Well-known for their chemistry, they describe themselves as yin and yang, with Harris joking and Schlossman sharing insights. Their personal styles reflect their expertise and passions—a sexy Scandinavian look for Harris and a unique take on heritage brands for Schlossman. They both value quality and investing in well-made items, and prioritize organic experiences, exploration, curiosity, and discoverability. Episode Highlights: Schlossman and Harris's origin story of work and personal partnership was born of necessity and involved building a social calendar around whatever was available to them. They worked together at Complex, “failing upwards,” with a fashion video show that took off based on their dynamic before moving on to more strategic and brand partnerships roles. As they moved up the ladder, both felt creatively constricted by red tape and constrained by creating content that catered to advertising dollars.  Schlossman and Harris started their podcast in January 2020 with a sense of having zero stakes—and they say this mentality is what paid off.  Retaining their independence is important to them in a clinical media landscape; it keeps their listeners interested in their irreverence voice.   Now that they make their own designs and collaborate with their favorite brands, such as Our Legacy, Schlossman and Harris contrast their well-made designs with “guys who get dressed for the internet.”  Their audience is “incredibly enthusiastic and incredibly savvy and smart,” Harris says, and respects their underdog style and pursuits.  They cite a robust list of favorite brands, like Eckhaus Latta, Connor McKnight, Angelo Urrutia, Stoffa, Sunflower, and Our Legacy as references and masterful brands of the moment.  When asked what's contemporary now, Harris offers “the fragmentation” and “the challenge of how people can eventually find their people,” while Schlossman says “motivation and doing things because they actually make you feel good,” which is inherent to his interest in dressing.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Pulitzer Prize–winning journalist Robin Givhan renowned for her insightful fashion commentary, seamlessly integrates fashion into broader cultural discussions. She started as a writer on the Detroit techno scene beat before making her way into fashion journalism. Emphasizing the importance of being a generalist, Givhan talks To Christopher Michael about her early experiences in fashion and how they continue to shape her trajectory and approach today. She speaks of political representation and fashion's crucial ties to identity, underscoring the need in today's landscape for a higher standard of reporting in fashion journalism. By exploring the intersection of politics and fashion and the balance between storytelling and crafting, Givhan reveals profound insight and a unique perspective as an influential voice in journalism. Episode Highlights: Talking about her childhood in Michigan, Givhan loved reading and writing and stumbled unintentionally into the fashion sector after writing about Detroit's techno scene. Covering menswear was "a very gentle entry point" into fashion and allowed her to focus on the details, quality, endurance, and longevity of garments. Describing her entry into womenswear as marked by gatekeepers—who were frankly mean—Givhan was stubbornly determined and interested in the fashion scene's character-driven nature rather than its more consumerist elements. Givhan is careful to distinguish between general interest reporting and the reviewing that is natural to "a fashion ecosystem."  Givhan notes that she doesn't necessarily have a stake in what's happening, which makes her a good critic. There is a difference between social media influencers, who are engaging, and actual historians, who can give information to journalists, and critics, who can "connect the dots" for the public at large while being held to higher standards.  The way people consume media is changing, though Givhan is optimistic that voracious readers will always exist. She sees significant progress in some political realms; the pendulum always swings, oscillates, and zigzags.  Givhan outlines sociopolitical fashion as a tool for education, a kind of shorthand for identity, and a means of representation. Is fashion dependent on anchors or hooks from the culture at large? To Givhan, it's engaging enough to stand on its own, while fashion as an industry tends to rely on mainstream media for support. Givhan contrasts companies like Dries Van Noten and Versace, which remain inside the fashion realm, to labels that use celebrities to inspire growth. What's contemporary now is being comfortable in the gray spaces.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Daphne Guinness is a style icon and creative force. Heiress to the Guinness brewing dynasty, she transcends her lineage as a fashion muse, designer, and philanthropist. Renowned for her avant-garde fashion sense—and her extraordinary couture collection—Guinness seamlessly blends artistry and eccentricity, distinctly weaving past sartorial narratives into the contemporary. Her collaborations with designers like Alexander McQueen and Gareth Pugh have left an indelible mark on the fashion world. But beyond fashion, she is a musician, and writer with a flair for the dramatic and the unexpected. A self-described pessimistic optimist, Guinness is an enigmatic persona and a captivating perennial figure in both high society and artistic circles worldwide.  Episode Highlights: Guinness says her formative years were a mixture of “art, stoicism, military thought, and surrealism.”  She's interested in philosophy and the Stoics and calls herself happy to be an outcast.  As a child, she lived in a monastery in Spain with no other than Salvador Dali as a neighbor— “he put me up to make some of my best pranks as a child.” On the pre-1999 era of Daphne Guinness, she says she was never a society wife, only a mother, hermetic.  Her friendship with magazine editor Isabella Blow, her relative “in spirit,” exposed her to things and people most people would only ever dream of or see in a film. Guinness's otherworldly aura and fantastical upbringing seems perfectly normal from her perspective.  She was mentored by David Bowie, who spotted her as a singer. She recently released “Hip Neck Spine,” which has a music video directed by the legendary Nick Knight.  Philanthropic efforts are crucial to her; Guinness sponsors a CSM scholarship every year.  She considers herself a pessimistic optimist, exhausted by putting her heart and soul into her art and music—she sees what's contemporary as pessimism, but she's “Team optimism.”  She sees the beauty in human error and process, saying, “I like to do things the old-fashioned way.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Editor-in-chief, stylist, and creative consultant Katie Grand is renowned for her relentless creativity and influential contributions to the fashion and print industries. Born in the UK, Grand's visionary approach propelled her to the forefront of fashion journalism, where she served as the editor-in-chief of renowned publications, such as POP, Conde Nast's biannual Love magazine,and most recently Perfect. Her collaborations and innate ability to spot emerging talent landed her roles as a creative consultant for major fashion houses and solidified her status as a tastemaker. Long at the forefront of what's contemporary and experimental, today, she continues to shape the landscape of contemporary fashion with a perspective that often upends the industry's cyclical norms. Episode Highlights: Grand is a marathon runner; she sees fitness and endurance as ways to expand her interests outside of fashion. She came into “nerdy” or “outsider” friendships in Birmingham, growing up ice skating and attending cultural events together; through this scene, she found out about publications like The Face and i-D. Her father brought her to London as a child to shop.  What's kept her on the pulse of the fashion world—from social media revenue to the evolution of print magazines—has been following her instincts and respecting when she finds herself feeling bored with something. Grand talks about balancing the support of working under a big corporation with a need to collaborate with people who share her lack of rigidity and need for freedom. She discusses the difference between magazines like Dazed, The Face, and i-D, biannuals, and monthlies, and working on different production timelines.  Grand cites putting Beth Ditto on the cover of Love as something akin to putting Kendall Jenner on a Marc Jacobs runway, in that both changed the industry dramatically and immediately.  Highly invested in social media engagement and quantitative measures of viewership, Grand notes that the evolution of print has been toward more and more careful renderings of the medium, down to the investment in paper quality. Speaking about future generations in fashion, Grand remarks that she's optimistic about their opportunities given social media's reach but cautious and concerned about the use of AI cutting artists out of their work. When asked what's contemporary now, Grand says, “AI.” Learn more about your ad choices. Visit megaphone.fm/adchoices

New York–born Greg Krelenstein, cofounder of global creative studio gk-ld, lets his instinct for what's contemporary guide his matching of talent to brands, magazines, and collaborative projects. Formerly a third of the DJ collective The Misshapes, he also directed editorial operations at fashion and communications agency Starworks Groups for 14 years before establishing his agency with partner Lisa Duckworth. Krelenstein is a force in the fashion world, renowned for his ability to shape and direct the images of celebrities and brands, whether they are at the cutting edge of the zeitgeist or were famous decades ago and are seeking a comeback. “A mother hen to young indie stars” and “permanently 12 months ahead,” Krelenstein is an industry visionary with innate instincts for fashion and culture shifts and modes—and the wisdom to take a moment to get a sense of what feels right. Episode Highlights Born in Brooklyn and raised in suburban New Jersey, Krelenstein grew up visiting the city and eventually pursued a communications and media degree at NYU. As interested in celebrities on magazine covers as those working behind the scenes to produce the shoots, his first passion was not for the fashion world but for film and music. Krelenstein was the editorial director at Starworks for 14 years before opening gk-ld with partner Lisa Duckworth. He started in film publicity, working with niche magazines and organically growing his clientele to form gk-ld as an industry insider.   Krelenstein sets his ideas apart by taking chances and choosing collaborations, celebrities, and situations that represent something fresh within magazines developing unique identities. On maintaining decades-long obsessions with certain celebrities, Krelenstein remarks that past monocultures inscribe them in the collective mind, and that peoples' current attention spans are so short that re-referencing and “comebacks” have social capital.  Krelenstein says he intends to create overall images as an image director rather than cater to trends.  At an auspicious age, Krelenstein can understand the importance and use of both print and digital operations.  Talking about his experience with the #mycalvins campaign, Krelenstein says the ads that you really remember are the ones that appear to be produced from a genuine creative mindset by the designers in the house—and that he's excited by proximity to those productions. His metric for success is when talents experience their own organic growth, in addition to brand alignment; he calls himself both a psychiatrist to some talent and a kind of cultural anthropologist.  Emphasizing the importance of trusting his instincts, he states that what's contemporary now is taking a moment to breathe and get a sense of “what feels right.”  Learn more about your ad choices. Visit megaphone.fm/adchoices

Paloma Elsesser is a trailblazing model, advocate, and writer heralded for her unapologetic celebration of body positivity and diversity in the fashion industry. Growing up in Los Angeles, she navigated various artistic pursuits before finding her niche in modeling—later going on to win Model of the Year at the 2023 Fashion Awards. Her career skyrocketed after being discovered on Instagram by Pat McGrath, leading to collaborations with renowned designers, brands, and publications like Miu Miu, Vogue, i-D, Marni and Balenciaga. Elsesser's advocacy extends beyond the runway as she addresses issues of representation and inclusivity. With her distinctive style, eloquence, and charisma, she continues to redefine the model and inspire a generation globally. Episode Highlights: Born in London and raised in California, Elsesser is of Chilean, Swiss, and African American descent to a family of thinkers and what she likes to call “punk” as well as spiritual. She was encouraged to lean into all of her interests, and now considers applying the curiosity she experienced in her childhood to her work. She studied psychology and literature in New York City. She was interested in mental health, substance abuse, literature, and writing, often writing and publishing her poetry throughout her adolescence.  Her writing for The Cut was profoundly personal and a cathartic opportunity to discuss representation.  Elsesser surrounds herself with a community (a “social diet” of people) who also prioritize her commitment to openness and advocacy, though she feels the language around and scope of cultural diversity is still limited.  She navigates the intersection of her voice and communicating the things that matter to her while also understanding the complexities of the commercial aspect of being a talent by pacing herself with slow change and being “obsessed with accountability.” Having stepped back momentarily from social media, Elsesser attempted to “navigate unfettered burnout” of microdramas, gaining confidence from conversations with Richie Shazam and Julia Fox. She's chosen sobriety for 12 years and sees her lifestyle as a way of both avoiding pain and avoiding causing pain.  Joking that what's contemporary now is Ozempic, she says what is always contemporary is curiosity. Learn more about your ad choices. Visit megaphone.fm/adchoices

While fashion has become culture's greatest Trojan horse, it's only natural that there should be a show exploring both the contemporary landscape and modern-day human experience through its lens. You'll find both the unique and universal in these conversations that illuminate the pulse of our times as we ask different creatives and thought leaders the ever-present question, "What is contemporary now?"  In our upcoming season, we've lined up extraordinary guests, including a Pulitzer Prize-winning fashion critic, a brand founder who could give a masterclass on how to do it right and win at life, and award-winning designers, magazine editors, and cultural icons, both established and new. Tune in for new episodes starting Monday, May 27 with Paloma Elsesser, Greg Krelenstein, Katie Grand, Robin Givhan, Dara, Suzanne Koller, Pierre Rougier, Zoe Ghertner, Willa Bennett, Erik Torstensson, Daphne Guinness, and many more.  Learn more about your ad choices. Visit megaphone.fm/adchoices

While another season has now ended, we've already started working on the next. We want to hear from you, our listeners, who you'd like us to have on and what deeper dives you'd love to see taken. If you're listening on Spotify, you can simply reply to the question here in the app, ⁠DM us on Instagram⁠, or email us at ⁠info@whatscontemporary.com⁠. If you've enjoyed the show, leave us a review, and we'll be back soon with more episodes answering the insatiable question What is Contemporary Now?

Hanan Besovic, the content creator and fashion commentator behind @ideservecouture, shares his unconventional journey and outsider perspective into the fashion world. Moving from Croatia to the US, Besovic garnered a significant following on his platform during the COVID lockdown, using it to channel and convey his perspective on fashion—which he comes by through sheer obsessive passion. His honest and timely critiques often challenge traditional norms in the industry. Besovic details the evolving role of influencers, advocating for discernment in evaluating their contributions to fashion discourse. Expressing admiration for Gen Z's assertiveness and knowledge, he navigates the industry with a focus on community-building and networking, while maintaining an authenticity that he sees as all too often lacking on social media. His overwhelming fashion insight gives him a unique perspective laced with nuance, allowing him to see what's contemporary now as both the influence and image of businesswoman Kim Kardashian, as well as pervasive mediocrity that comes from the industry's exclusivity and commercialism. Episode Highlights: Serendipitous start: Introduced to fashion in 2010 after seeing a McQueen show, Besovic transitioned from hospitality to fashion after a move from Croatia to the US and following a layoff from hotel work during the pandemic. Following a passion: Though he treated fashion as a hobby, joking that he failed algebra because of his obsession with Giovanna Battaglia Engelbert, he found a role in the scene during the COVID lockdown. Superfan: Citing Plato's Atlantis and the Horn of Plenty, Leigh Bowery lips, and Dior silhouettes, Besovic recounts how McQueen's show was “a perfect introduction to fashion because I got a history of fashion in 13 minutes.” Ending up on a panel for Show Studio, through which he had first been introduced to the fashion world, was a full-circle moment for Besovic. @ideservecouture: Having been called a content creator, a fashion critic, and an influencer, Besovic sees himself as a commentator, remarking on how the fashion world has changed to include more critiques like those pushing for body diversity.  On influencer culture: Besovic sees the importance of having a discerning view on social media, where unresearched or misinformed influencer opinions on fashion proliferate alongside those of influencers who have dug deeper into the contemporary moment and its historical roots. Gen Z: Likening the feeling of maintaining an outsider perspective among the insiders to those that look down on Gen Z, Besovic notes that he admires the younger generation's activeness and knowledge of their value. Organic growth: Quoting a drag queen, Besovic says that “goals are preplanned disappointments” and prefers relying on organic personal—and social media—growth. Navigating the industry: Besovic's advice to young designers is to work more toward networking and building community, as he does on his platform. “Nice, genuine, and down to earth”: Besovic's contemporaries don't have the same egos as most in the industry, and Besovic himself is happy to forgo sources of status, like physically attending the shows.  “I like to know the reality of the things.”: When asked whether the world needs the 24/7 dream or fantasy of fashion on social media, Besovic insists that the world needs to know instead that everything's not as perfect as it looks. When clothes speak for themselves: Besovic says storytelling is crucial to a collection, except when garments are too good to need a narrative. Dream job: Besovic thinks he would be a good consultant for brands like Givenchy, which don't understand their worth or history.  Polarities: For Besovic, the Kardashians are what's contemporary now (still), because “no one can dispute how smart of a businesswoman she [Kim] is.” On the other hand, additionally, what is contemporary now is “mediocrity, it's commercialism, it's lack of creativity.” 

French photographer Robin Galiegue has carved a distinctive niche in the world of contemporary photography, captivating audiences with a refreshing vision of beauty, style, and attitude. Galiegue's early experimentation with makeup, styling, and photography laid the foundation for a career marked by raw energy and a timeless aesthetic. Seamlessly blending fashion, portraiture, and reportage, his notable projects include a recently published book and work with directional publications like Vogue Italia, Self Service, and Harper's Bazaar France, and collaborations with brands such as Saint Laurent, Isabel Marant, Tom Ford, and Hermès. In a world where he sees people molding into different personas online, Galiegue believes what is contemporary now is being oneself, in work and in life. Episode Highlights: Early ambitions: Born and raised in Lille, France, to artistic-minded parents, Robin Galiegue always had ambitions to move to a bigger city and first felt drawn to images and fashion at 14 in directing a photo shoot with his sister.  The big move: Dropping out of school at 16, Galiegue attended photography school in Paris, deciding over the course of five days.  Without reference: Coming to school with zero cultural exposure to photography, Galiegue gained technical expertise and was driven to work, though he knew little English and was not assisting.  Nerves: Even as a big name in the industry today, Galiegue is nervous about approaching collaborations, such as with legendary model Linda Evangelista. Hard to sit still: Being in Paris—or in large, bustling cities—incites Galiegue's desire to work rather than relax; he sees them as villages that offer bursts of energy. “Shooting has to be fun”: Known in the industry as a kind presence, Galiegue has an intuitive understanding of when to be firm and when to prioritize kindness.  Merging visions: Galiegue enjoys working with brands, stylists, and collaborators with strong voices to make something exciting and new.  Finding inspiration and peace: Traveling, meeting new people, having friends not in the fashion industry, and discovering new cultures keep Galiegue engaged in his creative work after hours.  What's contemporary now: Galiegue sees so many people playing roles on social media, so what's contemporary or necessary now is being yourself.  Fear of AI: Galiegue is not interested in AI and is more scared of its potential to replace collaborators and artists.

Gill Linton is the cofounder and curatorial persona behind Byronesque, a digital boutique department store that uniquely merges editorial content with a focus on contemporary vintage fashion. As editor-in-chief, Linton is a thought leader in the realm of editorial-based e-commerce and has long been a go-to brand strategist well-versed in the subculture of vintage fashion. Hailing from London, Linton divides her time between Paris and New York, collaborating with designers, consultants, editors, stylists, and other in-the-know individuals to reissue vintage finds and preserve creative brand histories. For her, it is essential to encourage people to be more thoughtful and slower when buying clothes—institute a cultural shift in shopping behavior. Episode Highlights: “The odd one out:” Born in London into a Scottish family, Linton got her start at M+C Saatchi, where she was able to pursue her passion for advertising, branding, and creating content. Serendipitous start: From her first job, she moved to BBC Radio 1, which was a state-run representation of youth culture. She was able to move into the fashion industry through a move to New York to work with the agency of entrepreneur Russell Simmons.  Brand evolution: Linton began in the fashion industry at a time when concepts like “brand heritage” weren't considered in traditional marketing.  Bridging gaps: She cofounded Byronesque, set apart from traditional resale sites, to focus on “contemporary vintage” with a global network of vintage sellers and private collectors. Resale is the new fast fashion: increased volume and perpetuated ideas of buying and selling in the resale sector have led Linton, through Byronesque, to “encourage people to be a little bit more considered, slower, and to keep things for a long time.” Fighting flip culture: Byronesque believes the clothes it sells and stories it tells have more meaning than the mainstream gives them. Careful curation: Making Byronesque “a specialist environment” for vintage and “future vintage” of luxury brands, Linton has been authenticating, partnering with archive teams, and organizing concessions for luxury brands in an attempt to provide more agency and control over resale markets and brand image.  Reissuing vintage: Byronesque has reissued vintage finds from Helmut Lang, Vex Generation, Claude Montana, THREEASFOUR, and other brands that have been producing iconic items in decades past. Collector's items in fashion: Her concern with keeping clothing as investment pieces drives a blockchain-based authentication process, and brings up the power of narrative and the importance of story. What's contemporary now: Real talent, Linton says, and she hopes to see a resurgence of talent among a generation and in an evolved industry where that's not always necessary.

Writer, editor, and creative director Thom Bettridge navigates the realms of storytelling, experience curation, and audience expansion with seasoned expertise. From editorial leader at 032c, Highsnobiety, and Interview to Head of Creative and Content at SSENSE, Bettridge has come a long way since his beginnings as a student of philosophy in New York City. His series of compelling statements showcase an impressive grasp of worldbuilding, adding context to the evolving landscape where editorial content and e-commerce converge. In an industry where magazines and retailers traditionally kept their domains separate, Bettridge's approach to keeping consumers engaged signals a potential future trend for others. His insights reflect a shift toward a more integrated and dynamic relationship between content creation and commercial endeavors. Bettridge has seen—and been behind—much of the changes to the fashion industry as it enters an inundated era obsessed with viral moments. His connectedness to contemporary culture is only rivaled by his closing remarks: that true contemporariness might be found in uncharted, offline territories.  Episode Highlights: After becoming interested in art criticism via philosophy studies, Bettridge started an art space in Medellín, growing attracted to the fast-paced evolution of Colombian culture and society.  On interning and moving up through the ranks in New York: “That was my idea of hell. So I wanted to go somewhere where I could make more of an impact even if it was an uncertain terrain.”  Noting that “the only two things that were still alive and kicking when I finished school were fashion and, like, tabloids,” Bettridge explains how he came to fashion through his love of magazines and editing them.  The solitary nature of writing didn't suit his personality, and Bettridge found he enjoyed editing more, with creative direction being an extension of that kind of collaboration. “360 control over how a story looks and appears”: Creative direction was never a target for Bettridge, who considers it more of a byproduct of writing and editing—what he was already doing—and born of necessity along the way. His first foray into magazine editing was at 032c, where he gained firsthand experience observing creative direction before moving on to Interview.  Considering philosophy as a way of creating and applying systems, Bettridge sees an analogy in being a storyteller adept at making connections.  Coming to SSENSE as the company was nearing its 20th anniversary, Bettridge leaned on the experiences of the people who had been at the company for a long time. Bettridge has a strong understanding of brand DNA, pushing the company further into its “anti-nostalgic, anti-heritage” heritage.  “Mind-share”: Bettridge's creative process aligns naturally with SSENSE's ability to tap into a young, digitally native generation, which communicates via social media. Using a metaphor of a hotel with a great coffee shop, Bettridge expresses the relationship between editorial content and e-commerce, where content regularizes exposure to a company and signals what it's about.  To cater to a younger generation, Bettridge notes that youth culture demands that brands be good storytellers that tap into the current social and political moments.  Old-school print magazines tell stories through image placement (much like Instagram), but in a way, that decisively marks a certain zeitgeist, which Bettridge says somewhat outlasts the neverending inundation of social media. Bettridge remarks on learning that intuitively marked anchors within a magazine or brand's vision create cohesion and that visual storytellers are the individuals most capable of creating brands with palpable foundations or clear identities.  What's contemporary now? The potential for offline culture, a culture that “isn't solipsistic or self-isolated.”

Renowned photographer of the Antwerp Six, Willy Vanderperre is a Belgian-born image-maker best known for his campaigns for Prada, Dior, and Jil Sander, as well as publications like i-D, Another, or W. Longstanding creative collaborations with fashion icons like Raf Simons, Olivier Rizzo, and Peter Philips have informed his creative output over the decades and renewed his lasting interest in what youth cultures have to continually offer the older generations.  Vanderperre has made himself an industry staple over the past twenty-plus years through his illustrious photography, which includes his project Naked Heartland and a book series that cleverly connects analog publishing to the new forms of media consumption. But his experience doesn't make him feel old. In fact, he continues to tap in—in his life and in the contemporary conversation—into the energy that youthful voices bring to fashion in a creative and lifelong practice that mirrors how he approaches long-term industry collaborations and pervades his images: with a sense of renewal, expression, and movement.  Episode Highlights: “A rather difficult place to be”: Growing up gay in Belgium to a hardworking family (and a father who was a butcher), Vanderperre felt the “smallness of the country” and says he was saved by art school and the sensitive people he came into contact with there.  Aspirational: Because of his upbringing, Vanderperre quickly found a drive to escape his origins.  An introverted country: Vanderperre sees Belgium's history and small geography as drivers of the country's production of artists and designers.  Looking differently at a garment: Vanderperre's photographic work stands out among fashion images because of his preoccupation with and sensibility for capturing movement.  Normalcy: While a big-city feeling feeds a feeling of glamor, Vanderperre celebrates a sense of rootedness in his origins and having peers outside of the fashion realm, a situation of social solitude that he likens to COVID quarantining.  Contemporary publishing: Translating ephemeral social media into the “analog product” of a book, Vanderperre put his book together quickly, almost instantly, much like an Instagram post.  “The right thing to do”: His book on Instagram was driven by his love of youth culture—its accessibility, efficiency, and unpretentiousness. Vanderperre's obsessions with youth, isolation, and the redemptive power of pop culture can be summed up by how impressed he is by outspoken young people disconnected and connected by expressive forms like music and movies in the internet age.  Never growing up: Vanderperre is one of the first modern generations to see themselves as having a different aging and cultural trajectory from their parents, and more able to choose whether they wanted to become “adults.”  Contemporary politics: Youth have positively shaped the world, particularly in the past five years, but Vanderperre has partnered with the Trevor Project to support LGBTQ+ rights. Long-term relationships: Close collaborations with Raf Simons, Olivier Rizzo, and Peter Philips have been challenging, presenting opportunities for growth.  Fluidity: While the industry has changed in the past 20 or 30 years, it doesn't feel all that different to Vanderperre; he approaches it with new energy and different emotions and enjoys the influx of new voices. What's contemporary now: “This conversation.”  

Derek Blasberg, a dynamic force in the worlds of fashion and media, boasts a multifaceted career as a writer, editor, and a New York Times bestselling author. Previously YouTube's head of fashion and beauty and director of public figures, Blasberg transformed the platform, earning praise from industry luminaries like Tom Ford. His influence extends to the Gagosian Gallery, where he spearheaded the relaunch of Gagosian Quarterly and collaborated with renowned image makers, especially in celebrating the life and work of legendary American photographer Richard Avedon. After his 2023 Gagosian landmark exhibition Avedon 100 in New York, Blasberg follows with the launch of Iconic Avedon: A Centennial Celebration of Richard Avedon in Paris on January 22, 2024. A graduate of NYU with degrees in dramatic literature and journalism, Blasberg comments on his journey from Vogue assistant to front-row favorite, underlining his extroversion, passion for the fashion industry, and the importance of never saying no—and that's what's contemporary. Episode Highlights: Sweet nostalgia: Blasberg remembers his upbringing in St. Louis, Missouri, as typical and all-American, but not one that facilitated a knowledge of fashion from the get-go. Surrounded by manuscripts: With a mother who was the managing editor of a medical journal, Blasberg had his first connection to documents and texts through medicine and later as a prolific note-passer at school.  Contrasts: “I had a fundamental lack of understanding or loose grasp of the fashion industry, as I now know it today,” Blasberg says. Beginnings: Being predigital but a natural extrovert, Blasberg found an agency and advocated for himself, with his first foray into the fashion world writing biographies for models, later working for Vogue and W magazines.  Hired and fired from Vogue: Blasberg calls it an educational process and experience, even though managing and assisting “was probably not the best fit for me.” The evolving role of the journalist: Though the traditional writer role doesn't exist in the same form it did two decades ago, Blasberg sees the ability to express oneself in written language as more important than ever.  Do readers exist?: Regardless of form, people may not be reading but are still consuming content and “still curious what people have to say and what they have to write,” Blasberg notes. Bazaar Models: Blasberg's books explore successful models and muses in a form that fuses literature, journalism, and sheer curiosity about the lives of talents. Man About Town: Blasberg has a unique freedom and independence in navigating the fashion industry, which he sees as a result of open-minded optimism.  Perspective as a “trader in culture”: Blasberg notes that live streams, online and resale marketplaces, and influencer culture are ways in which the fashion industry, in particular, has changed over the course of just the last few years.  Full-circle moment: A career highlight is the Paris centennial celebration of Richard Avedon, Blasberg's childhood hero.  Driven by passion: Inspired by icons like Richard Avedon and Marilyn Monroe, Blasberg's work at the Gagosian Gallery is unique in its capability to portray other elements of culture and history, such as the Civil Rights Movement. His enthusiasm for the subject matter shines through.  What's contemporary now: For Blasberg, it's never saying ‘no.'

Creative consultant and iconic figure Amanda Harlech has played a key role in fashion for decades. Harlech is recognized for her insightful, ultra-collaborative approach, her influential work with brilliant designers, and her mentorship of young designers. She initially joined forces with John Galliano in the '80s and '90s before later joining Karl Lagerfeld at Chanel. For her, creative sensitivity and a willingness to work are facilitating forces in an industry that she sees as evolving in a more collaborative direction. Though she surprisingly calls herself not quite “a fashion person,” Harlech's prolific career has shaped parts of contemporary fashion design and showcased her intuitive understanding of creative storytelling. Illustrating a unique narrative of artistic connection, Harlech notes that the enduring allure of craftsmanship is what's contemporary now.  Episode Highlights: Creativity and make-believe: Harlech has vivid memories of being surrounded by storytelling and fashion, which were emphasized in her life from an early age by those around her. “It's a way of navigating life:” Weaving fictions and working with fantasy is how Harlech has always sourced creative inspiration, from childhood collaging to designing gowns. Career trajectory: Harlech went from working at Harper's Bazaar and The Face to working with Galliano, a collaboration she calls “so powerful.”  Collaboration rather than competition: Harlech found Galliano's designs emotionally powerful, and their active collaboration is contrasted with a more passive one while working with Karl Lagerfeld for 27 years. She discusses collaborating with Andrew Bolton for the most recent Met Gala in celebration of Lagerfeld.  Collaborative evolution: While Lagerfeld, for instance, directed teams based on his genius, Harlech notes that contemporary labels tend to create entire creative communities wherein designers all bring something unique to the garments. Creative sensitivity: Harlech's intuitive understanding of a collection's intention and rhythm has propelled her throughout the years.  “I am this undefinable thing:” Surprisingly, Harlech says, “I'm not really a fashion person, although I love the whole creative process that goes into a collection.” She describes herself as a facilitator above all else, synthesizing creative energies among the many individuals any collection or shoot requires.  Other forms of collaboration: Enjoying how mentorship “switches the light on” in her head, Harlech brings her know-how to the energy and willingness of Central Saint Martins students. Progress and its countermovements: Discussing AI's ever-increasing role in creative design, Harlech takes a positive stance, remarking on the emergence of support for and dialogue with the hands-on, artisanal work that goes into design.  What's contemporary now: Harlech takes the question in a mythical direction with ancient myth and ritual, paying homage to “the old ways, the skill of making, craft.”

Trailblazing South African fashion designer Lukhanyo Mdingi's brand story is as distinct and vibrant as the fashion he creates. From early influences of pop culture in the Eastern Cape to the launch of his post-graduate show, Mdingi's journey is a testament to the power of visibility and mentorship in the fashion industry. Winning the LVMH Karl Lagerfeld Prize in 2021 and the Amiri Prize in 2023 bolstered his eponymous label's global presence and solidified vital industry connections; it also revealed the systemic challenges faced by brands emerging from developing countries. Yet, despite these challenges, he affirms his brand will remain in South Africa, articulating a strategic approach to building a regional direct-to-consumer model, recognizing the potential for growth and revenue generation, and instilling a sense of empowerment within local infrastructure and craftsmanship. A key focus for Mdingi is collaboration: His partnership with the Ethical Fashion Initiative and his label's work with South African artisans highlights the unique, rich histories and the particular needs of regional communities and markets. By nurturing homegrown success while keeping an eye on the global horizon, Mdingi thrives in a dynamic industry, wittingly weaving together talent, purpose, and the transformative potential of fashion.

Brendon Babenzien offers a look into his trajectory from a skateboarder immersed in the alternative music scene between Long Island and New York City to the forefront of fashion. His journey is a testament to his unique cultural access and entrepreneurial spirit. Inspired by the convergence of hip-hop, punk, new wave, and rave cultures during his teenage years, Babenzien recognized early on that the future lay outside mainstream culture. His skateboarding roots instilled a sense of belonging in the cultural periphery, a theme he later translated into the foundational ethos of his brand Noah, a staple in the New York menswear luxury realm. Babenzien discusses his evolution, from his early days at Supreme in 1996 to the launch of Noah in 2002 to the present moment, which is, for him, marked by a commitment to ethics over aesthetics, emphasizing sustainable business practices. He views creative direction as not merely about premium clothing design but the creativity involved in building a well-intentioned business. Babenzien encapsulates his philosophy—fusing style with substance, challenging mainstream culture, and championing a future where conscious choices redefine contemporary values. Episode Highlights: Upbringing: Growing up skating and in the alternative music scene between Long Island and New York City, a serendipitous meeting in Babenzien's teenage years with Don Busweiler ultimately led to his interest in fashion.  Cultural access: Babenzien's proximity to surf and skate cultures coincided with a “unique window of time where there was a lot of firsts.” Hip-hop, punk, new wave, and rave culture made an impression on him as a teenager.  “This stuff we're into is the future”: he recognized from an early age that scenes outside the mainstream culture were the future and capitalized on that reality.  Skateboarding culture and being a “freak”: Babenzien locates the importance of making meaningful friendships that cultivate a sense of belonging, even on the cultural periphery.  Building a brand: He doesn't consider creative direction to be “terribly creative,” arguing that the business infrastructure and upkeep takes a more creative toll than clothing design.  An organic process: living in and near New York City culture in a combination of subcultural worlds naturally lent itself to fashion design and product marketing, especially when he felt represented by certain brands, like Stussy. Joining Supreme in 1996, Babenzein had the cultural references to create a certain style but had to learn the business management and operation as he went along From underground to mainstream: speaking on how street style has infiltrated the luxury sector and mainstream fashion, Babenzein says that while he himself is always looking for growth and the next thing, his ethos of earning access comes from his skate roots. Ethics over aesthetics: Babenzein's idea of what's punk has evolved over the years, moving from rebelliousness to real action, which informed his establishment of Noah, a brand existing “intersection of lifestyle and fashion.” “A long arc”: Babenzein spent two decades learning about the intersection of environment and fashion business in the process of launching Noah. “There wasn't so much an aha moment, as it was this slow build to get there.” Future-forward: Babenzein cites getting married and having a child as moments when he knew the importance of sustainability. Luxury and sustainability: Noah garments comes at high price point to reflect the premium quality and ethical standards set in place for factory workers. “I'm not Yohji”: As a creative director of a brand with simple collections Babenzein sees Noah's value in the idea behind the label rather than in the clothing itself. On J.Crew: Babenzein likes that the scale of the brand and its resources enable him to produce clothing at an accessible price point and that he brings to the company a transformed idea of internal culture. Learn more about your ad choices. Visit megaphone.fm/adchoices

Movement director Pat Boguslawski reflects on his journey in this latest episode, citing a unique artistic trajectory. Boguslawski has always been sure of his career as an artist throughout his upbringing in Łódź, Poland, fueled by pop culture, film, and fashion shows. Coming to dance—which he immediately perceived to be the most expressive art form he could pursue—and then moving to London to find an outlet for that passion, Boguslawski came to his current role, shaping the fashion shows of his childhood heroes, like John Galliano and Alexander McQueen's Sarah Burton, through a mixture of serendipitous encounters and hard work.  Boguslawski's breakthrough as a movement director occurred during the 2020 Margiela show, where Leon Dame's viral walk marked a rule-breaking moment. He emphasizes the irreplaceability of artistic experiences that originate in ordinary life, and as a movement director, he navigates the everyday challenges of instilling confidence in inexperienced individuals. His love for the constantly evolving, interdisciplinary nature of his work shines throughout the episode, revealing a passion that combines modeling, dancing, directing, and acting. With sobriety as a grounding force, he cherishes the magic, presence, and drama inherent in the collaborative artistry of fashion and movement together.

Ruba Abu-Nimah is a graphic designer at the vanguard of creative directing—even as the title of that role has become, she says, completely devalued. She's put her creative skills to work directing brands like Elle US, Shiseido, Revlon, Tiffany & CO., and most recently Balenciaga. In this episode, Abu-Nimah offers her take on the value of formal education and travel, the balance to be struck between digital and analog craftsmanship, and upholding heritage while striving for innovation. Her passion for access, information, and learning comes through in her articulate, informed perspective on what she sees as the trajectory of corporations and AI. Swayed by her love of democratic arts, from her passion for Andy Warhol to her formative years spent listening to punk and hip-hop, Abu-Nimah sees what's contemporary now as what has been and will be: the power of youth and their rebellious nature.  Episode Highlights: Abu-Nimah notes the convergence of punk rock and hip-hop that took place during, and had a strong influence on, her formative years. Punk, she says, “hit me like a ton of bricks.”  She notes that she was “preprogrammed” to work in the tactile, visual world, and that London kickstarted her preoccupation with beautiful design.  Abu-Nimah sees formal education as “outdated.” “It wasn't creative enough for me, in terms of analytical thinking,” she says. Art school, on the other hand, though it was outside of her family's understanding, “was the only possible way for me to get through life.”  Access to software and information has created a misunderstanding or confusion around distinctions between creativity and the tools used to accomplish the creative process. On becoming a creative director, Abu-Nimah says the role requires a total knowledge of her craft, from typography to conceptually bringing a project to life.  She prefers to identify as a graphic designer because the title of creative director today has been devalued and doesn't have much meaning, unfortunately. Also, “I believe that to be a creative director in my world, which is, in the world of branding and messaging and communication, I believe you have to come from an understanding of communication.” She distinguishes between heritage and nostalgia, highlighting the importance of brand DNA woven together with what resonates with today's audiences. “Any passion that becomes a purpose—I'm just a lucky person that I was able to achieve that. To me, a lot of it is just feeling and understanding and immersing myself and living and breathing the world that we work in. I really love it. I don't stop absorbing it.” She says corporations (outside of the luxury world) tend to prioritize marketing over creative departments.   She emphasizes a sexist perspective in which confident women are seen “as a bitch, as difficult to work with, or intransigent” while confident men are perceived as “strong.”  Abu-Nimah sees travel—whether uptown or to a city that's a 15-hour flight away—as the most important education as well as a luxury.  She paraphrases Fran Lebowitz, saying that people are more interested in the price of the art than the art itself. “But the art itself, I think, is for everyone and should be available to everyone, and everyone should have the privilege to understand it.” She speaks of her love for Andy Warhol's art and graphics, how he democratized art and was “the artist of the people.”  Though Abu-Nimah sees AI as currently in a rudimentary state and could never see a machine replicating the work of legendary artists, “it could emulate them. And it might be a source for some sort of process,” she says.  Having access to “everything” fuels her passion for information consumption and accelerated learning.  What's contemporary now: Youth rebellion and speaking out against injustice.