What’s Contemporary Now?

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. 

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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. 

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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.”

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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.”

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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.” 

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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.

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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. 

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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.” 

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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.

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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.

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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.”

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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.”  

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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.’

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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.”

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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.

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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.

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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.

Episode Highlights:

• Upbringing: Born in Poland, Boguslawski spent his childhood developing his imagination by watching music videos and movies and keeping up with pop culture through MTV, VH1, and FashionTV. 
• A new way of expression: Though he was sure he would be a painter or designer, he came to dance at a friend’s urging and found it to be a more expressive and social artistic practice.
• An international move: Boguslawski moved to London into an “extreme” situation, without a job or a solid plan except to pursue his dream of dance.
• Balance between serendipitous luck and willpower: Boguslawski came to London intending to be a dancer and was scouted as a model and then championed by Alexander McQueen Creative Director Sarah Burton.
• “Strong attitude”: He had a breakthrough moment as a movement director in 2020 at the Margiela show when Leon Dame walked in a particular way and went viral. “I realized that we probably broke some rules.”
• “Weird energy”: Boguslawski realized he was meant to be a movement director while working as a creative assistant for a choreographer.
• “Magic and presence and drama”: He expresses a feeling of privilege that he’s part of Galliano’s creative vision, which was part of his childhood dream.
• Unrepeatable: Boguslawski notes that if he’s watching a fashion show, he wants it to feel singular and to be something he couldn’t experience or re-create in his daily life. 
• Creating confidence: The greatest challenge is being confronted with models who have low confidence or little experience, and in that way, creating confidence for movement is “like therapy.” 
• Burnout: Speaking to creatives’ need for time to sit around and do nothing, Boguslawski reflects on times when the more jobs he did, the less creative he could be.
• Loving the job: The constant fluidity and change of clients and the interdisciplinary nature of the work keep him loving his line of work, which merges modeling, dancing, directing, and acting. 
• Sobriety: Because his body is so closely tied to his work, sobriety helps Boguslawski bring “the best energy” to his job. “I’m not cracking,” he says of aging.
• What’s contemporary now? It’s “being a good human.”

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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:

• Formative years: 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.” 
• London as a design city: She notes that she was “preprogrammed” to work in the tactile, visual world, and that London kickstarted her preoccupation with beautiful design. 
• Formal education: 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.” 
• The contemporary digital moment and creative directing: Access to software and information has created a misunderstanding or confusion around distinctions between creativity and the tools used to accomplish the creative process.
• “It took me about 20 years to gain that title.”: 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. 
• On the fundamental nature of graphic design: 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.”
• Balancing brand heritage with innovation: She distinguishes between heritage and nostalgia, highlighting the importance of brand DNA woven together with what resonates with today’s audiences.
• Working by instinct and driven by learning: “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.”
• Prioritizing creative direction: She says corporations (outside of the luxury world) tend to prioritize marketing over creative departments.  
• On confidence and gender in the working world: 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.” 
• Travel: 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. 
• Marrying art to a commercial purpose: 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.”
• Discovering Warhol: She speaks of her love for Andy Warhol’s art and graphics, how he democratized art and was “the artist of the people.” 

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Gordon von Steiner is a force of youthful creativity and talent in the world of fashion film. In this episode, Christopher Michael sits down with von Steiner to discuss how the recent Grammy nominee—for directing Troye Sivan’s showstopping music video “Rush”—honed his passions into a creative practice from a young age and evolved as an artist in tandem with changes to the fashion, art, and culture industries. Raised in Toronto on cinema classics by filmmakers such as David Lynch, Pedro Almodóvar, and Woody Allen, von Steiner moved to New York to attend NYU’s prestigious Tisch School of the Arts. After an internship with GQ, he spoke to a friend at the artist agency Art & Commerce to seek advice on what to do next. It was through that conversation that he ultimately found a champion for his work in legendary photographer Steven Meisel, who catapulted his innovative work in fashion film at a critical cultural moment onto platforms like Vogue and W Magazine. He discusses what it’s like to fulfill your childhood dreams: For him, it’s been fueled more by excitement than intimidation, finding validation in the process of coming up with concepts, carrying them out to completion with friends and collaborators, and resonating with audiences who admire the emotional appeal of his visual storytelling.

Episode Highlights:

• Early cultural experiences: von Steiner knew from an early age that he would pursue cinematography and remembers the childhood joy of visiting the Toronto Film Festival yearly to watch new releases like Punch-Drunk Love and Lost in Translation. 
• Diversity for creativity: Though von Steiner counts filmmakers like Pedro Almodóvar, Woody Allen, and David Lynch among his early inspirations, it was the variety and cross-genre nature of his interests that inspired him to make films for himself.
• Cross-genre performing arts: “More than anything else, there’s a signature style of movement to my work,” von Steiner says. “That’s something I’ve subconsciously developed over the years, often through dance.” 
• “A rewarding filmmaking experience”: von Steiner’s most recent success is a Grammy nomination for his direction of the music video “Rush” for Troye Sivan, an affirming project that merged a passion for telling queer stories with his talent for fashion film.
• A healthy relationship to work: Hands-on experiences at GQ and Vogue were fun and high responsibility; he felt comfortable with his creativity at a moment when the film industry was changing rapidly to cater to the evolution of social media platforms.
• “This is the future”: Industry greats like (“What’s Contemporary Now” guest) Nick Knight inspired von Steiner to channel his experimental thinking into new aesthetic mediums, using Vine for Vogue, for instance, or working at a time when cultural momentum shifted from YouTube to Instagram, longform films to shorter video clips. 
• A big break: von Steiner found a champion of his work in acclaimed fashion photographer Steven Meisel around the same time he started working with Vogue. He speaks of the critical importance of having a mentor who believes in you to support your efforts.
• The validation is in the work itself: In crafting a trilogy of videos for Sivan, von Steiner says “the joy and the pleasure of coming up with an idea,” along with working with friends to create something emotionally evocative and lasting, is something that can be seen and felt in the final product. 
• Short attention spans: von Steiner notes that being unaware of how people are receiving your film is a huge risk. Playing to the medium (usually of videos viewed from phones) is essential to keep in mind. 
• Outside of social media: He tries to step away from social media and engage with film, books, and theater to keep his mind alive to find new inspiration.

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Editor-in-chief of Interview magazine, Mel Ottenberg, wants to maintain a sense of fun in an atmosphere rife with fear. Previously creative director at 032c, he’s collaborated with an impressive roster of stars, high-profile clients, and photographers. In this episode, he shares his take on where we are in this cultural moment and how fashion, beauty, and style can be powerful vehicles for communication and social transformation. He highlights some of the influences that have shaped his aesthetic—MTV, The Cock, the downtown scene, and Vogue—and the icons who fueled him as an aspiring creative in the 90s, such as Madonna and Arianne Phillips. Teeming with energy and ideas, he found ways to connect his work in the indie and pop celebrity spaces, and with Interview, he found the perfect platform for his diverse experiences and an outlet for cheeky, unfiltered output. What’s contemporary now? “Fear and loathing is truly the most contemporary thing now. It’s totally gross. It’s totally real, and I think confidence and an open spirit of change is the only way past that.” 

Episode Highlights:

• Fashion forward: Mel sees clothes and style as vehicles to channel people, cultural sensibilities, and change.
• Formative influences: Mel was shaped by the 80s and its dress codes, Madonna, MTV, Vogue, and the downtown NY club and arts scenes.
• Finding inspiration in the multidimensional visual artist Arianne Phillips.
• Fusing styles: Working in both indie and mainstream celebrity spaces.
• At the intersection: Becoming editor-in-chief of Interview magazine aligns everything in Mel’s eclectic career.
• Status check: Publishing has evolved since Mel’s formative years and has been reshaped by the emergence of digital media and new approaches to branding.
• Embracing opposites: Playfulness, camp, and a general sense of high-low fun emblematic of Mel’s style and sensibility—in the pages of Interview and beyond.
• Blending voices: Why Mel deliberately infuses Interview—initially conceived by young rule breakers—with a youthful energy that sharpens his own Gen X lens.
• Embracing messiness:  Interview’s independent format protects artistic freedom and content that isn’t perfectly polished or orchestrated. Risk-taking is part of the mandate.
• Daring to be unfiltered: With the current political and social climate, Mel speaks authentically despite pressures to be packaged and guarded.
• Cancel culture: The cultural pendulum swings between self-censorship, nihilism, optimism, intrigue, and despair.
• Hyper-veneer and hyper-raw: What feels like reality (versus the algorithm) in the diversity of style, beauty, fashion, and identity narratives that coexist today.
• What’s contemporary now? Fear, the 80s, and younger generations calling out and challenging fear and repression.

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Quil Lemons is a photographer and artist renowned for his innovative contributions to commercial and fine arts spaces. As a Black queer creative force, he defies labels and uses his work to authentically represent the multifaceted aspects of his identity. The youngest photographer to capture Vanity Fair’s cover (featuring Billie Eilish), Lemons is featured in The New Black Vanguard: Photography between Art and Fashion, as well as in many other publications, including Garage, i-D, and W. Recently, he debuted his first solo show, Quiladelphia, in the Hannah Traore Gallery. Lemons’s work extends beyond capturing images; it is a form of activism and storytelling that pushes boundaries and challenges societal norms. He is reshaping narratives around authenticity and sexuality, and fostering open dialogues within the LGBTQ+ community. In this conversation, Lemons shines light on how he’s breaking barriers in the industry, celebrating Black queer masculinity, and blazing a trail for Black artists. He shares his secret sauce for creating one’s reality and changing one’s industry. What’s Contemporary Now? A utopia. A vision of a world with no pain.

Episode Highlights:

• Surrounded by art: Attending Julia R. Masterman was a formative part of Quil’s adolescent years. Going on to attend the Charter High School for Architecture and Design in Philadelphia, art and creativity have always surrounded him.
• Champion of authenticity: Quil has been a champion of authenticity from a young age, constantly questioning what adults thought and deciding to go against the grain of society. “How am I going to beat the odds?” was always his guiding motto.
• Empowered by femininity: Raised by strong Black women, Quil viewed women and femininity as fragile, yet powerful and beautiful.
• Race, gender, and privilege: Quil believes that, in comparison to Black men, white men often have a privilege when it comes to sexuality and self-expression (such as fashion).
• Quiladelphia: Through photography and raw conversation, Quil sought to change the entrenched notions of Black masculinity, family, queer sexuality, race, intimacy, and beauty. It showcases his fight to exist.
• Sex positivity and sex work: Quil wouldn’t be able to make art if sex workers weren’t part of the conversation. He speaks on porn and OnlyFans as integral parts of the queer community, as well as catalysts for changing the narrative around nudity, sexuality, shame, and even HIV.
• Family feedback: “I grew up pretty Christian on my mom’s side and pretty Muslim on my dad’s side, and so it was a family full of religion,” Quil says. “But they came to the show, and they loved it. They loved where I’m at and my journey as a person and that I am unafraid and I don’t give a fuck what anyone has to say about what I’m doing with my life because it’s my own.”
• Feeling different: Quil pushed himself to be vulnerable, which he believes is the whole point of being an artist. Watching his community support him gratifies and motivates him to keep going.
• Editorial vs. commercial: Quil loves infiltrating traditionally white spaces with his fully authentic self. “Watch me do all of these spaces because there is no limitation on my creativity and where my art could go,” he says.
• Changing the industry: The rules of the fashion industry are changing. “The New Black Vanguard” is changing the industry. It doesn’t come without pushback, but Quil is pushing forward to keep the fashion industry evolving.
• The secret sauce to creating your reality? Quil is blissfully unaware of negativity, he’s goal-oriented, and he knows there’s always a way around a “no.” To be successful is to be delusional.

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Vanessa Friedman has been the fashion director and chief fashion critic at The New York Times since 2014. Her lauded insight as a critic balances both the courage to speak to reality and a responsibility to inform her readers. Working at the intersection of culture and news journalism, Friedman has seen the landscape of the fashion industry change dramatically in the last decade. In this episode, she gives an honest and authoritative account of the state of fashion, speaking to hurdles that must be addressed in sustainability, production, and creativity in an age of short attention spans and ever-shortening fashion cycles. She discusses the new role of sports in the world of luxury branding, bringing a historical perspective to conversations around elitism and accessibility. Advising emerging journalists to find a unique voice, Friedman herself is always on the lookout for what’s truly new, bringing to fashion journalism a willingness to be surprised. She hopes what’s contemporary now is the kind of open-ended dialogue she conveys in her approach to fashion criticism.

Episode Highlights:

• “A serendipitous error”: Friedman didn’t know early on that she was setting out to work in culture and journalism, but instead came to fashion naturally over time.
• A critical framework: As a fashion critic, “I’m not interested in expressing my gut feelings to others,” Friedman says. “It’s not ‘Do I like that? Do I think it’s cute?’” Friedman sees fashion as a way of communicating within the broader contexts of historical traditions. 
• Intersections: Friedman sees fashion as a malleable art capable of tethering to any element of culture. As a critic at The New York Times, Friedman’s work exists at a particular intersection between fashion, culture, and news journalism. 
• The last decade in fashion: She’s seen fashion transform from a niche artistic experience into an industry that informs how a wide range of communities (such as the realms of athletics and politics) express ideas and positions.
• The constant flow: In the last few years, Friedman’s seen the pace of fashion change, with the traditional seasons speeding up to provide consumers with a continuous flow of products. 
• Evolving ideas of luxury: The most successful modern brands—like Nike—lure customers with both goods at more accessible price points and higher-tier, elite items. 
• Sustainability: Friedman discusses the need to rein in the scale of production, rethink materials, and overhaul practices on a global level. “I don’t think anyone, certainly no major brand I’ve talked to, has really come to grips with that.” 
• Real, and not real: Friedman comments on a growing tendency to not trust fashion imagery in light of filters, the ubiquitousness of surgical treatments, and changing beauty standards.
• The role of a critic: She sees her role as one that requires both courage and a sense of responsibility, considering her work a beacon that her readers use to wade through the white noise of mass media.
• New vs. more: Friedman distinguishes between what adds “more” to the world of fashion and what adds something truly “new.” Newness is more creative, and it “does take thought, it takes experimentation, it takes making mistakes,” she says.
• Capturing attention: In what Michaels calls an attention deficit economy, Friedman advises emerging journalists to have a unique point of view and an individual style without relying entirely on that voice.
• What’s contemporary now: It’s listening and engaging in open-ended dialogue.

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London-born photographer and SHOWstudio founder Nick Knight has remained at the forefront of what’s contemporary since his emergence into the fashion photography scene in the 1970s. Over the course of an illustrious career, Knight has worked closely with the likes of Alexander McQueen, Lady Gaga, Bjork and John Galliano, as well as with fashion houses such as Christian Dior, Tom Ford, Louis Vuitton, and Yves Saint Laurent, among many others. Bringing an outsider’s insight into the fashion and art worlds, he began pushing boundaries in the ’80s in collaborations with i-D magazine and revolutionary designer Yohji Yamamoto. He has directed the trailblazing fashion film platform SHOWstudio for over two decades, pioneering new modes of artistic expression and audience connection. In a thoughtful conversation with Christopher Michael, Knight reflects on how he maintains a sense of artistic integrity and urgency—with or without the validation of commercial success. His hunger to continue to learn has driven not only a varied career spanning music, art, and fashion through the lens of the camera, but also kept him at the forefront of technological innovation, whether with SHOWstudio or a riveting perspective on AI—comparing it to the birth of photography and the internet—and how we will evolve.

Episode Highlights:

• Trial and error: Coming to photography after a failed attempt at becoming a doctor, Knight found that following his natural talent led to success and a sense of fulfillment.
• Working with restrictions: For Knight, starting out with just a few rolls of film, natural curiosity, and “with your back to the wall” was the perfect learning opportunity.
• A creative upbringing: Growing up amidst the countercultural revolution of the 1960s, Knight produced early work that delved into provocation and followed his obsessions.
• Led by his fascinations: Knight used his photographic practice as a means for exploring unfamiliar subcultures, realizing that fashion wasn’t just the catwalk but coded into the social worlds of the clubs and dancehalls.
• “Music was my way in”: Working with stylist Simon Foxton, Knight found his introduction to the world of fashion through music and art.
• “Mind-blowing”: Taking cues from revolutionary designer Yohji Yamamoto’s 1980s collections, Knight was riveted by the idea that fashion—and photography—could be based on the soul rather than the sexuality of the body.
• Refusal to be referential: Knight rejected photography as a fascination with the body and articulating instead an obsession with the mind, producing an aesthetic paradigm fit for a new generation of artists “outside the system.”
• Innovation and newness: Knight continually modernized fashion and photography, guided by his talents and fascinations at critical technological junctures.
• Best of both worlds: Seeing fashion photography as lacking in the ability to capture the fundamental movement of clothing, Knight explored the invention of fashion film.
• Perspectives born of necessity: Knight saw fashion photography and filmmaking as two distinct practices that could be combined to inform one another.
• “An uplifting moment of freedom and experimentation”: With the rise of the internet, Knight was free to do the work he loved outside the system and in new mediums
• Commercialization of fashion: What had previously been an art form evolved into a lucrative form of business with the rise of Vogue and Anna Wintour.
• Guided by passions: Knight saw SHOWstudio as a rethinking of the magazine format at a critical moment when the internet allowed a reproposal of how we see—and who sees—fashion. “It wasn’t that we just wanted to do something differently. We just wanted to do something that was exciting.”

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When we first asked the question, “What is contemporary now?” we thought it made sense to explore the makings of culture by tapping into the varied perspectives of creatives whose work has helped shape the contemporary landscape. This season sees that dream continue, having the chance to speak to a master on the intersection of technology and image making and a brilliant young artist on the recontextualization of queer black culture. We explore how creatives lead successful luxury brands and even tap into the important role of the critic as a lighthouse amidst oceans of information. 

Subscribe now for new episodes starting Monday, November 13 with Quil Lemons, Vanessa Friedman, Mel Ottenberg, Ruba Abu-Nimah, Brendon Babenzien, Willy Vanderperre, Amanda Harlech, Gordon von Steiner, Robin Galiegue, Thom Bettridge, Nick Knight, and many more.

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British makeup artist Isamaya Ffrench has been challenging our perceptions of beauty and creativity for the past decade. She attributes her unconventional approach to beauty, one that escapes commonality and mainstream aesthetics and paves the way for bold innovation, to her family’s background in engineering and problem-solving. Spurred by a face painting side hustle, her nontraditional rise in the industry saw her take on pivotal creative roles—such as brand ambassador, creative director, and global beauty director—for luxury brands, such as Tom Ford, YSL, Christian Louboutin, Burberry Beauty, Byredo, and today, beauty curator for Off White. In 2022, she launched her makeup brand, ISAMAYA, an evolving line of progressive beauty products entrenched in the zeitgeist. In this episode, Isamaya shares with Christopher Michael her perspectives on cultivating creative audacity and innovation in beauty. Some may consider her work subversive, yet she sees it as contextual and impulse-driven—LIPS, the brand’s penis-shaped lipstick, was influenced by conversations around gender and sexuality. What’s contemporary now? Isamaya believes it’s time for people to acknowledge and accept that having a different opinion, preference, or approach is okay. “Just leave people alone and let them get on with their lives.”

Episode Highlights:

• Creative audacity: Isamaya attributes her creative edge and audacity to her upbringing—having grown up in a family of engineers and creatives.
• Penis-shaped lipstick: Isamaya is often driven by impulse; she’s very receptive to what’s happening around her, so it’s no surprise the discussions around gender, nudity, and sexuality have indirectly influenced her work. However, more than anything, LIPS was a logical decision.
• Global beauty director: Is it challenging working for brands? “It’s about having different experiences,” Isamaya says. Although she values the creative freedom of having her own brand, she enjoys the collaborative aspect and various parameters of working with other brands.
• Side hustle: She worked her way up from face painting to semiprofessional body painting to makeup artistry.
• Product design: Isamaya describes her love/hate relationship with product design and how it is a part of her path to success.
• Favorite clients? Junya Watanabe and Tom Brown—to name a few. Isamaya looks for a strong sense of self and a willingness to push creative boundaries when partnering with designers or brands; to find new territory while maintaining a concise brand aesthetic and philosophy.
• Advice: “If you’re passionate about something and you want to do it, do it. You only live once!”
• What’s next? Collaborations, new makeup collections, and a documentary about global beauty aesthetics and ideals.
• What’s contemporary now? “Just leave people alone and let them get on with their lives.” 

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Fashion journalist, writer, and broadcaster Tim Blanks has had a front-row seat to many defining, pivotal moments in the fashion industry since 1985. Throughout his prolific career, he has witnessed countless transformational trends, with his byline appearing in international magazines and newspapers, including Vogue, GQ, Financial Times, Fantastic Man, and Interview. Previously, host of the globally syndicated television show Fashion File for a 20-year stint, he was as well editor-at-large at style.com. Today, he is editor-at-large of Business of Fashion and a celebrated author and contributor to various monographs and volumes on fashion royalty, such as Anna Sui, Dolce & Gabbana, Alexander McQueen, and Michael Roberts. In this lively conversation with Christopher Michael, he contextualizes trends related to everything from branding and sustainability to creative talents and human needs, which attract people to the art of fashion. Tim's insights reflect a unique perspective on the industry's evolution and a deep, intuitive understanding of the vulnerabilities and desire for validation that drive even the most successful industry icons. Although Tim celebrates the fault lines he sees redefining today's fashion landscape with new inclusive language and geographic diversity, he also spotlights global issues such as social and environmental justice, prompting a reckoning of sorts within the fashion industry—and the world at large. Ultimately, it's all about keeping creatives relevant in an era of turbocharged change and adaptation.

Episode Highlights:

• Starting out: Starting university at age 15 helped him evade bullying and launched his experience of making “all those mistakes that change your life.”
• Connecting with fashion: Tim’s limited exposure to fashion while coming into adulthood in New Zealand when he realized images had the power to shock or amaze.
• First rung: A detour into filmmaking in Canada eventually morphed into freelance writing and, ultimately, a full-time gig at a fashion magazine and a high-visibility role hosting the global TV show Fashion File.
• Staying fresh: Keeping something of an outsider’s perspective has helped blunt any cynicism about the fashion industry.
• Inside-outsider: The curiosity—and an eye inspired by filmmaking—has defined Tim’s unique approach to fashion’s personalities and untold stories.
• Reflecting and projecting: Fashion has a dual role as a mirror of culture and a harbinger of social trends on the horizon.
• Community of misfits: Tim believes fashion has historically drawn outsiders, agitators, and visionaries into a tribe bound by creative energy. A circus. A roving family!
• Human longing: The “hole in our soul” Tim believes we are constantly trying to fill or offset with validation from our peers—an impulse at odds with how social media actually makes us feel.
• Stand-out moments: Witnessing an interview in which LouLou de la Falaise was the translator for a reluctant Yves St. Laurent; 90s runway shows that were cultural high points, including spectacular shows featuring Alexander McQueen, Jean Paul Gaultier, and Christian Lacroix; and getting the opportunity to talk to Helmut Lang for the first time.
• Assessing AI: Tim believes that ChatGPT and other machine learning could create informational bridges and—with good intent—positive, beneficial results.
• At odds: The challenge to reconcile environmentally wasteful “gigantism” and corporate sustainability in the billion-dollar corporate branding and production world.
• What’s contemporary now? Simmering rage, confusion, chaos, fear, an urge to fight, and a puzzlingly benign (rather than punk) attitude in fashion in contrast to the climate crisis, political unrest, and pandemic fallout. What should be contemporary now? A revolutionary spirit to fuel change, even at great lengths. It’s time for idealism coupled with pragmatism, expressing itself in action—with fashion playing a part.

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Bestselling author and podcast host Gabby Bernstein believes unresolved trauma negatively impacts our lives and deprives us of the ability to connect. Gabby, one of the "soulful thinkers" featured on Oprah's Super Soul Sunday, explores the importance of doing the work to be present to each other—and foremost ourselves—amidst the noise and alienation found everywhere in today's world. In this episode, she explains to Christopher Michael wounding left untended is at the root of toxic emotions like alienation, anger, and judgment. She shares her own experiences with traumatic dissociation and drug addiction and her practices and path to wholeness. Highlighting ways to combat hypervigilance, diffuse "impostor syndrome," and lean into reconnection with our bodies, she stresses that even the most mindful among us will always be a work in progress. What's contemporary now? "A trend toward well-being and a concerted effort to get out of our bubbles, seeking stability through connection."

Episode Highlights:

• Friendly vs. hostile: Gabby believes that the problems in the world arise from poor choices made from a place of unresolved childhood trauma.
• Common ground: Shared core beliefs founded in love and compassion enable us to work and live with people with different views.
• Objective reality: Unresolved childhood wounding often appears in projection forms that invite our curiosity and self-compassion (along with boundaries).
• See it, be it: Manifestation is about clearing beliefs, fears, or insecurities that hold us back from assuming the energy of what we truly desire.
• Analysis paralysis: A closer look at Gabby's journey to transparency, vulnerability, and authentic truth as a vehicle for connection. 
• Gabby's path: She turned away from a life as a nightlife publicist, numbed her painful trauma with drugs and alcohol, and went on to embrace sobriety and honesty.
• Walking the talk: Holding space for and witnessing the transformation of others—particularly women she has sponsored— has been healing for Gabby. 
• Doing the work: Gabby uses therapy and other tools to combat impostor syndrome or feelings of emptiness that crop up—no matter how successful we are.
• The control trap: Living in safety is the best way to heal hypervigilant nervous systems, including through modalities.
• Being present: Gabby finally feels fully alive and attuned to her body and is no longer shut off to mental and physical connection.
• Creating connection: For those who have experienced complex trauma, creating connection is a long, slow process of gently thawing dissociative reflexes without triggering panic. (recommended reading: "Happy Days: The Guided Path from Trauma to Profound Freedom and Inner Peace.") ; For those struggling with everyday life's stresses, grounding practices, movement practices, and meditation to center, calm, and help visualize healing and well-being.
• Words of wisdom: "When we learn how to explore and change our minds about the world we see, then our experience (and our experience of our experience) of the world changes accordingly. And that mental shift is miraculous!"

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New York–based photographer Ethan James Green is renowned for his distinct eye and the intimacy and openness portrayed in his work. An early career in modeling and exposure to some of the great photography visionaries of the times paved the path to a whirlwind career in fashion. Today his work, which has appeared in prominent publications and campaigns—including Dazed, i-D, M le Monde, Perfect, Vogue Italia, Vogue, and W, as well as Alexander McQueen, Dior, Fendi, and Louis Vuitton—spotlights elemental themes, such as contemporary identity, sexuality, and style. A published author, his books reflect on and display the scope of queer identity of the past decade, feminine performance, erotic costume, and beauty. Hailing from Michigan and raised in a religious household, he chats about his spiritual journey, as well as discovering and integrating with the queer community. In this episode, he relays to Christopher Michael how he shifts between his two worlds, of fashion as a photographer and art as a gallerist, highlighting the need to create bridges among generational aesthetics and perspectives.

What's Contemporary Now? Being authentic, breaking rules, and moving forward even when it’s uncomfortable.

Episode Highlights:

• Point of entry: New York (via Tokyo) was the initial inspiration for the 17-year-old model.

• Working with the greats: Ethan learned a lot while modeling for some of the preeminent fashion photographers of the time, such as Steven Meisel (how to communicate a commanding, confident voice without aggression), Mikael Jansson, and David Sims (how to streamline the process of capturing iconic images and the tricks that facilitate success).

• Out of Michigan: Ethan staked his claim as a model—and ultimately a photographer—by leveraging determination and a homegrown portfolio that attracted notice.

• Turning point: Ethan's mentor is the artist and photographer behind the 2011 book "David Armstrong: 615 Jefferson Avenue"—he embodied and modeled integrity.

• Moving beyond: Ethan's fundamentalist upbringing proved a beautiful challenge, allowing a personal spiritual journey that led him to understand what was true for him.

• Doing the work: Integrating with the queer community opened Ethan to an entirely new community that replaced his childhood church community.

• Trans awareness: Understanding his struggle as a gay man in a broader context.

• Making it: The moment Ethan knew he'd made it: covers for Vanity Fair, Vogue, and an Alexander McQueen campaign. Then Rihanna! That was a moment.

• A perfect superstorm: Ethan became sober just before the pandemic and found himself subsequently challenged in his ability to connect as an artist and individual.

• Gravitating towards art: Ethan embraced an artistic ethic that opened up a transgenerational conversation across artists, galleries, and social media.

• Bridging spaces: To span modeling, photography, and now gallery art seamlessly, Ethan had to find brilliant collaborators; pursue other work before focusing on fashion photography; assist where he could; find a mentor; and break some rules!

• What's Contemporary Now? What's authentic to the moment, but also what's synthetic to the moment? It is mixing collaboration and multiple perspectives to advance the conversation, taking the next step, even if uncomfortable, and breaking the rules to move forward.

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Fashion stylist, editor, and entrepreneur Clare Richardson is a champion of environmentally conscious fashion. Previously the Fashion Director at Holiday Magazine, Clare is a contributing fashion editor at British Vogue, and her work has been featured in M le Monde, Vogue Paris, Vogue Italia, and many more. In 2020, she launched a highly curated resale platform Reluxe Fashion, which promotes fashion sustainability and circularity. In this episode, Clare chats with Christopher Michael about her journey: from a shy young teen and Central Saint Martins College to fashion editorials, working with legacy brands—such as Hermes, Balenciaga, and Calvin Klein, and advocating for slow fashion practices. She highlights her concerns about fashion greenwashing and how it affects modern consumers' choices. With Reluxe, she's aiming to create the antithesis of fast fashion, build an informed community around sustainable fashion, and underscore that all small steps matter in making a difference. What's contemporary now? "Expressing yourself truthfully."

Episode Highlights:

• Escapism and inspiration: Clare grew up as a shy and nerdy girl, but once she discovered fashion magazines, she found a sense of escapism, inspiration, and a whole new world where she could express herself. 
• Central Saint Martins College: Total freedom can be overwhelming, so you have to throw yourself into it and manage your time correctly, and In the end, it makes you stronger. Follow your gut: decide which avenue to go down in your fashion career.
• A passion for styling: Clare discovered her love for styling through trial and error; it came naturally to her. She felt inspired by the teams she worked with and loved the research.
• Married to fashion: Clare is married to a fashion photographer, so she needs to set boundaries and prioritize getaways to find a balance between the fashion world and her world.
• Sustainability and fashion: Clare constantly educates herself on climate change, how the fashion industry contributes to it, and how her values align—or do not align—with what the industry is doing.
• Reluxe Fashion: Clare's daughter influenced her decision to start and develop the brand. She details Reluxe Fashion's impact on the world and how she wants to shift how people think about fashion.
• Resale vs. circular fashion: What is the difference between resale and circular fashion, and why is greenwashing affecting consumer choices?
• Boosting fashion sustainability: Money talks! As a consumer, ask yourself, "Where do you spend your money? Do you need it? Does it need to be new? What brands are you supporting? What are their values?"
• Collaborations: They play a significant role in fashion because they inspire, engage, and excite customers. They create a broader reach for brands and products.
• Roles: Clare spotlights the differences between her role as a fashion stylist and her role as a curator for Reluxe.
• Clare's advice: Environmentally conscious fashion stylists and editors should be true to themselves. "If you believe in it and it matters to you, make it part of your job. Find a tribe of people that inspires you."

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Jesse Israel believes that the time to promote cultural change is now. His journey toward meditation maven is singular: from founder of a record label at 23, with multi-platinum bands, to founder of The Big Quiet, a global meditation movement that brings together massive groups for moments of transformational silence. Today, everyone, from Oprah and Deepak Chopra to many Fortune 100 CEOs, embraces the visionary practitioner's transformational work. In this episode, Jesse shares why he believes authenticity, connectedness, and joyful self-acceptance are what's contemporary now. To him, the power of mindfulness can push back against the noise, stress, and compulsive need for external validation that presses in on so many—particularly those in creative or entrepreneurial sectors. His heart-centered coaching approach is about unleashing wholeness and sending out global ripples of sustained, positive cultural energy, helping individuals tap into their power and potential, and highlighting the importance of finding inner joy and fulfillment in one's life and work. What's contemporary now? "What's contemporary now is people … [discovering] what makes them feel most alive. It's so critical that we live in a place of aliveness because the world really needs it right now."

Episode Highlights:

• Starting: From launching a successful record label out of a dorm room at NYU to inner turmoil, then meditation as a source of relief.

• We are not alone: Backstage meditation circles Jesse started at concerts gave him a profound understanding of our shared human fragility.

• The Big Quiet: Jesse applied lessons learned in developing popular cultural events to create community—a space for people "to slow down and talk about real stuff."

• Gathering momentum: Iterating in small gatherings, Jesse began to shape his growing community in response to people's needs and wants. The Big Quiet grew and took off organically from there.

• Group v. individual: Larger group meditations deepen the practice, creating a richer sense of togetherness within the silence.

• Just the facts: In areas where mass meditations occur, decreases in levels of crime have been reported, along with a generally positive ripple effect.

• The Musical Element: Crystal bowls and other sound vibrations give practitioners a container for a deeper state of consciousness. Notable performances in the quiet, captive moments after a mass meditation infuse the community with a sense of heart-centered connectedness.

• The changing landscape: There are tectonic shifts that humans are experiencing in the information, digital age. We use mindfulness to strengthen our nervous systems and reconnect with a primal, tribal sense of well-being.

• In the corporate world: Meditation can open up new channels of creativity, increase response times for problem-solving, foster intuitive team-building, cultivate more personal joy and discovery, and enable enlightened leadership.

• Step-by-step leadership: Step 1: Meditate to reduce stress and emotional blocks. Step 2: In the quiet, get clear about how to tap into full power and potential. Step 3: Turn outward, leveraging personal gifts and positive impact.

• The butterfly effect: Leaders who practice self-love and recognize joyful purpose become vessels that inspire change and transformation in the workplace and beyond.

• Grounded in abundance: Anything is possible when we lean into intention, our unique gifts, and our lived experience. 

• Easing the grip: Meditation and self-compassion shift us from a place of scarcity and fear towards being okay with the fact that there are things we can't control.

• Unlearning the messages: It's essential to unhitch our gaze (and sense of self-worth) from a high-stress, low-value cultural focus on empty external validation. 

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Jack McCollough and Lazaro Hernandez, the dynamic design duo behind New York–based womenswear brand Proenza Schouler, share their thoughts on the evolving fashion marketplace with Christopher Michael and how they’ve seen their work mature and scale with it. Their illustrious journey started 20 years ago at Parsons School of Design when they completed a joint senior thesis collection, which grabbed the attention of retail heavyweight Barneys New York. In their triumphant rise to a successful, prominent luxury label, they navigated social media noise and kept up with the breakneck pace of a never-ending, fast-paced global production cycle. Working in tandem has been vital to them, extending the emotional, creative, and practical support that buttressed Proenza Schouler’s growth and longevity. 

What's Contemporary Now? A celebration of individuality, keeping the work authentic to the brand's core values, and a broad embrace of all kinds of perspectives while also sticking to your vision and not just being a follower.

Episode Highlights:

• Getting the name right: Pronounced Pro'ensa Skool'er, the name represents the combination of the designers' mothers' maiden names. 

• Origin stories: Born and raised in Miami, Lazaro fell in love with magazines and design early, ultimately abandoning pre-med to attend Parsons School of Design. Jack spent his early childhood in Japan before relocating to New Jersey as a teen, a "culture shock" that preceded his move to Parsons School of Design.

• Aha moments: The early influences that shaped Lazaro's interest in the fashion industry and Jack's focus shifting away from the visual arts in college.

• Becoming a brand: Pulling all-night design sessions as college students cemented the bond between Jack and Lazaro, in terms of style and approach to work. 

• Turning point: What ensued after the fashion duo was introduced to Julie Gilhart, who was running Barneys New York and became a champion of their first collection—conceived and designed as an award-winning joint thesis project.

• Early days bootstrapping: The team figured out all the design, manufacturing, pricing, marketing, and other functions that came to be known as Proenza Schouler. (A name they came up with within two days.)

• What has changed: Jack reflects on today's increased "noise" level in the fashion marketplace, the "endless list" of would-be designers online, and the need to differentiate. Lazaro contrasts today's hardcore business and branding orientation to the more artistic, playful environment that prevailed when they started.

• Big money, fast timelines: The accelerating breakneck pace of marketing, pre-collections, social media management, and merchandising strategy.

• Staying creative: Jack and Lazaro evolved a balance between their business and design functions, merging them without letting one take over the other.

• Then and now: The evolution of Proenza Schouler's editorial/design focus on surprise and innovation toward a sense of continuity and investment in telling the same story but in fresh, new ways.

• The sweet spot: Curiosity and clear-eyed self-criticism have driven Jack and Lazaro past stumbles from better to best, season to season. 

• Love-hate: The beautiful opportunity fashion offers to reinvent and extend constantly versus the stress of that never-ending grind of performing.

• Duo dynamics: Working as a pair has conferred emotional support, creative challenge, and the ability to scale, multitask, and adapt to today's fashion industry.

• Identity shift: A look at how Proenza Schouler has continued providing "urban clothes for intelligent women" as their customers' lives have morphed and matured. 

• Celebrating practicality, individuality, and diversity: New York's fast pace and changeability are woven into the Proenza Schouler brand's voice and identity.

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As the youngest and first black fashion director in Vogue’s history, Julia Sarr-Jamois is a powerful driving force for change within the fashion industry. She started her illustrious career by modeling at 17 and then interning at i-D magazine. Her love of textiles and fashion accessories since childhood fueled her prolific rise to consultant, stylist, and fashion director of British Vogue. Today, her eclectic style and elegance make her one of the most photographed fashion directors—ruling best-dressed lists. Julia’s exceptional, lauded talent is highlighted through her dynamic editorials, social media presence, and consulting work with brands worldwide. In this episode, she shares with Christopher Michael how fashion markets have broadened, making it difficult for brands to focus on a single thing. As well, she reflects on how establishing her studio has allowed her more autonomy over her career choices and how magazines have played an iconic and influential role in both her fashion career and the fashion industry at large. What’s contemporary now? It’s an attitude. People are more open to different types of people, kinder to each other, and more inclusive.

Episode Highlights:

• What started as a two-week internship at i-D magazine became a year-long internship, catapulting Julia into the fashion industry. She has always been much more interested in what was happening behind the camera than being a model in front of it, leading her to a career in styling and editing.

• The modern-day fashion editor's role has changed. How? Historically, there's been a line between talent and editor. Now, you see a more integrated partnership.

• Julia describes how fashion and style, particularly Celine's, permeate and influence her entire life, including her living space.

• Magazines, primarily, have shaped Julia's interest in fashion. She highlights Edward Enniful's changes to British Vogue—compared to other magazines.

• What role does a magazine cover play in our culture today? Julia believes that since social media has become prominent, magazines play a lesser role. Celebrities don't need magazine covers as much as they once did. However, a British Vogue cover is always iconic and impactful—everyone wants one. 

• A style consultant working with brands, Julia shares her approach to strategizing content and marketing. How significant of a contribution does relatability make when building an image for a magazine, advertiser, etc.?

• Is it easier now for people to break into the fashion industry? Thankfully, it's different than it used to be; working for free doesn't exist anymore. Julia recommends working with Mentoring Matters for free mentoring in the fashion industry.

• Artist representation is starting to look different. Julia reveals how she's structured her in-house business as a stylist and consultant.

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With an impressive amount of experience in luxury lifestyle branding, Youssef Marquis has been one of the key players in shaping the image and narrative of some of the most iconic fashion houses, such as Givenchy and Louis Vuitton. His Paris-based agency Marquis, with a content-centric, digitally savvy vision, offers innovative services that bridge traditional branding strategies into the brave new world of social media. With a distinct strategic vision, creative flair, and strong relationships with media and influencers, Youssef is a trusted partner and a visionary leader helping his clients to navigate the ever-changing and challenging landscape to achieve their goals and elevate their image in the competitive and dynamic market. Today, designers are no longer defined by outside, third-party media; rather, they are empowered—and expected—to communicate by broadcasting directly and thoughtfully to their target audiences. Marquis crafts and determines its clients’ brand messaging: honest, targeting the right audience, and with visual and verbal identities that uphold their core values. In this episode, Youssef shares his thoughts with Christopher Michael on the fashion sector's stance on sustainability, ethical practices, and technological and social challenges. To him, brands are responsible for the messages they put out in the world. What’s contemporary now? “Shaping brand messages that leave no one behind."

Episode Highlights:

• Pop culture monster: Youssef’s obsession with image-making and creating awareness drew him to fashion communication.
• Getting specific: A general approach to communication and image can fall short in capturing what designers bring to the table in a particular era at a particular house.
• Bottling the magic: The importance of communicating the core values, identity, and messages that define the interplay between a house and a designer.
• Stepping beyond: Youssef launched his agency to broaden his perspectives and develop his rhythm beyond corporate frameworks.
• A voice emerges: Youssef’s signature style organically evolved, and he sought expression beyond any single brand or designer—project diversity.
• The LVMH relationship: A 15-year journey has sparked magical campaigns, and Youssef’s commitment to the brand now shapes his daily workflow.
• Radical clarity: For young designers pulled in multiple directions, Youssef offers a roadmap to establish that all-important identity and fearless differentiation.
• Critical components: Visuals. Community. 360º Comms Strategy. Creating a young designer’s messaging means figuring out “Who am I, and why am I different?”
• Changing landscape: Youssef straddles, remembers, and leverages his experience with both the traditional media space and today’s fluid social media and digital platforms.
• Where to focus: Given the range of options, Youssef encourages clients to commit to community and social networking platforms as a contemporary driver for messaging.
• Playing the channels: Young and established brands must be deliberate about who they are speaking to, in what voice, and with what emphasis.
• The golden ticket: A cohesive brand voice creates connections and consistency, advancing visibility and identification.
• Not optional: Youssef’s commitment (one he sees increasingly mirrored in the fashion sector) to sustainability, ethical practices, and core values of respect, inclusivity, diversity, and kindness.
• Racing toward the new: Technology can be a double-edged sword, with the allure of immediacy and the “wow” factor often followed by disappointing results.
• Pro advice: When it comes to highly sensitive decision-making around elements like technology, Youssef knows what he knows—and when to seek outside expertise.
• Looking ahead: Youssef proposes innovative, partnership-based services focused primarily on raising brand awareness through community-building strategies.

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Carlos Nazario, stylist, consultant and global fashion director of i-D Magazine, opens up about his work ethic, upbringing, and the importance of vulnerability in the fashion industry. Growing up in a Puerto Rican household in Queens, he credits his ambition, sense of responsibility, and ability to multitask—while maintaining an even temperament—to being enveloped by the hustle and bustle of a city where only the movers and shakers make it. Despite his considerable success, he describes himself as a relatable figure who openly shares experiences with anxiety, depression, body image issues, and imposter syndrome on social media to inspire others and help them aspire to more. In this episode, he shares his deep passion for people and their stories and his fascination with the transformative power of fashion and the persuasive language of clothes.

What Is Contemporary Now? Carlos believes that in a multifaceted world, portraying its diversity without being held to a single viewpoint is the true essence of what is contemporary.

Episode Highlights:

• New levels, new devils: "When you're just starting, many people behind you, happy to see you succeed and support you. But as you climb the ranks and become part of the establishment, you may not feel the same support. People may assume that you don't need that encouragement anymore, or they may misunderstand the intentions behind your work."
• Avoiding burnout: There is a lot of pressure to perform at a high level, which becomes more significant with success. It's often challenging to keep things fresh and find new ways to say what needs to be said and stand out while avoiding burnout. Despite these challenges, Carlos feels fortunate to work with his clients and have a partner supporting him. Still, ultimately, he recognizes that it's his job to establish boundaries and balance his workload.
• The human struggle: Carlos shares his struggles with anxiety, depression, body image, and imposter syndrome on social media, inspiring others who face similar challenges. He wants to be honest about his struggles because he knows that almost everyone struggles with similar issues, even some of the world's most successful, powerful, and famous people.
• The power of fashion: Carlos loves the power of clothes, one that creates the performance of existence. He is passionate about telling stories and finds glamour and fantasy captivating. The earliest pictures he fell in love with were Bruce Weber's, as they portrayed familiar people or ones in a fantasy world.
• Social chemistry: Putting together the right teams creates extraordinary results. Carlos is sensitive to vibes and carefully chooses who he works with. He prefers to work with his family of people who see and inspire each other and possibly have differing viewpoints. He has formed close relationships with models and sees their stories as necessary.
• Advice for the next generation: Invest your time, energy, and money into building something sustainable, a foundation, without focusing only on the result or its facade. Before starting out on his own, Carlos worked as an intern at W Magazine under Alex White and Camilla Nickerson, at Love under Katie Grand, and for Joe McKenna for six years. These experiences taught him to perform at a high level, manage clients, and think two or three steps ahead.

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In coming home to himself, dancer turned photographer Luis Alberto Rodriguez fully claimed the confident perspective that makes him one of the most sought-after talents in fashion and art today. For the gay son of Dominican immigrants, the performance art world offered refuge and exceptional opportunities—such as exploring the globe as a member of European dance companies. A background in dance and a quest to understand intimacy informed his unique photographer’s eye and helped hone the skills that eventually defined his work in the fashion industry today. Self-taught, the Berlin-based photographer shares his personal journey—how he evolved his craft with the help of a camera he won on eBay, various mentors, inspiring photo books, and YouTube tutorials—that led to work in notable publications, such as i-D Magazine, Document Journal, and Vogue. His success story is ingrained with a deep understanding of movement and a reverence for human connections; the shy school kid alone on the New York City subway became a visionary whose eye for integrity and authenticity defines What’s Contemporary Now. “Being proud of where you come from is the key to any kind of success,” says Luis.

Episode Highlights:

• The Roots of Love: Luis's peripatetic experience pursuing his passion for dance from his native New York's "Fame" (LaGuardia) public high school and a BFA at Julliard to his creative odyssey as a performer throughout Europe.

• Nothing to Fall Back On: Coming from challenging socio-economic circumstances drove Luis's immigrant survival story—as well as his imagination and independence.

• Mentors: An incredible group of teachers and mentors took Luis under their wing, giving him the guidance his—supportive but uneducated—immigrant parents could not.

• Dance as a Refuge: What it looked like navigating the world as a young gay boy who was extremely shy, repressed, and culturally unprepared for the swirl around him.

• The Jump into Photography: A fascination with portfolios and studying models—and the lack of diversity; the works of William Forsythe —and the way he illuminated the body; starting to mentally compose and click photos while traveling the world; studying portraits in photo books, like Richard Avedon's "In the American West."

• Acquiring Technique: Luis learned his métier one small job at a time, using a camera he won on eBay and tools like YouTube to study shutter speed and aperture.

• On Being Self-Taught: Whatever the technique or level of technical expertise, what Luis sees most in his work is the expression of his identity and personal history.

• Creating the Magic: Luis uses a particular alchemy, built in part on his deep history and dance knowledge, to unlock his subjects' bodies and energies.

• The Role of Dance: His deep understanding of movement and choreography has given Luis tools and a uniquely confident point of view.

• Imposter Syndrome is Real: Luis still has a pinch-me experience, even as his career has taken off and his random sense of the fashion world has become focused.

• Word to the Wise: Find those trusted partners who both offer space and provide support for the work. 

• On Intimacy: Luis shares the fascination with and gravitation towards human connection that roots much of his work in "a reflection of inner desire."

• His debut book of photography: "People of the Mud" is the outgrowth of a two-month residency in Ireland in which he had transcultural access to a homogenous sports community 

• Different Rules: The skepticism and suspicion attached to street photographers of color.

• The Intuitive Path: Transitioning from dance to photography was not seamless, but Luis trusted where his instinct was taking him and invested in an energizing and life-giving obsession.

• What Is Contemporary Now? Owning your history. Really digging deep, pulling from it, and being proud of where you come from—intentionally pausing and being still.

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Charles Levai and Kevin Tekinel, creative directors and cofounders of the Paris-based creative agency Maybe, chat with Christopher Michael about their inspiring journey to success. Before launching their sought-after agency, they honed their skills separately in various creative fields. Their complementary expertise in graphic design, fashion imagery, and film and video editing allowed them to work collaboratively on brilliant concepts and projects, building a prestigious clientele roster, which includes top fashion brands such as Louis Vuitton, Versace, Gucci, Hermès, Coperni and The Row. In this episode, the duo highlights the importance of technology in the fashion industry and the exciting new ways it's been incorporated—such as the impressive Coperni spray dress—especially during the pandemic. With the demand to produce more content higher than ever, they weigh in on the role of Instagram and various social media platforms in today's content creation, underscoring the significant shift toward video content to engage audiences better. To Charles and Kevin, their thriving creative path comprises essential building blocks: collaboration, positivity, and a willingness to explore possibilities. What is contemporary now? Creating something relevant and in context with the present moment.

Episode Highlights:

• On the name Maybe: Maybe was born out of the duo's love for fashion and the creative fields and cemented by a long-lasting friendship. "Maybe," a reply often uttered by both, represents their boundless optimism and the belief that nothing is impossible or a definitive "no."

• On their differing backgrounds: Charles, a master of graphic design, has a deep passion for fashion and imagery, while Kevin honed his skills in film before transitioning to the fashion world. Together they make a dynamic duo, working collaboratively on all aspects of their projects. Charles and Kevin find that being a team of two helps facilitate the creative process, and they value each other's input even when they don't initially agree.

• On constraints sparking creativity: Maybe achieved quick success after its founding, defying the odds despite the pandemic—though challenging, spurred innovation in the fashion industry and creative problem-solving. The founders credit this success to their tireless efforts and a dash of good fortune. Repurposing existing images and creating new works without photo shoots became necessary, leading to groundbreaking new techniques in fashion photography and graphic design.

• On technology: While technology has not advanced significantly in the fashion industry over the past decade, it definitely plays a crucial role in some of Maybe's projects.

• On their approach: When working with a fashion house, Maybe likes to play with its codes and look at the world through its eyes, creating something unique and special. The duo prefers to do as much of the work—rather than working with large teams—to stay true to their artistic vision and creative independence. 

• On art versus commerce: While they balance their projects' commercial and artistic aspects harmoniously and profitably, they acknowledge that everything they do has a commercial start and end—with some projects being more commercial or image-driven than others.
• On change: The fashion industry can be slow to embrace change, but brands have become more open to working with a newer generation. The agency believes its success is due to being at the right place at the right time, a newer generation of designers, and Paris reclaiming its rightful place as the epicenter of fashion and acting as a hub for creative people.

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Visionary founder of @stylenotcom, Beka Gvishiani, grew up in the former Soviet republic of Georgia with little-to-no access to pop culture—or even basic electricity. In this episode, Beka shares his seemingly overnight success story in the fashion industry with Christopher Michael. However, his digital platform and unique voice are rooted in years of hands-on experience promoting up-and-coming international brands. With its distinctive blue and white all-caps format and its wittiness and substance, @stylenotcom instantly caught the eye of industry heavyweights; its posts reflect not only what's contemporary now but also the historical trends that have shaped fashion and culture. He still finds his stratospheric rise hard to believe, including the success of his creative agency, Ariel Bold, counting Colette co-founder Sarah Andelman and fashion editor Katie Grand among his champions, and co-creating his first Vogue covers featuring the Ukrainian flag. "I still sometimes feel it's a big dream that has happened to me."

Episode Highlights:

• Turning Technicolor: Beka’s life was turned upside down when his interest in pop culture and music collided with the revolution in his native Tbilisi, Georgia, and the “gold, shiny light” that went on the first time he saw a Vogue magazine cover.

• Beka built a platform for his passion first by becoming a regular on forums like The Fashion Spot and then launching the Glossy Newsstand blog on Tumblr in 2010.

• Faster than Light: The splash Beka made—and the attention he got—using social media tags to highlight insider information about magazine covers and content ahead of the pack.

• Beka’s longtime collaboration with the celebrated magazine editor Katie Grand.

• Like a Dream: Beka’s love of headlines scintillated and evolved into his distinctive, eye-catching @stylenotcom all caps, words-only title format in 2021—rapidly building a viral following, especially among industry insiders. 

• The Power of Formal Education: Beka doesn’t attribute his success to the BA he earned in Finance and Business Administration so much as the early hands-on skills he acquired working with international brands in his native Georgia.  

• Arial Bold: The creative consulting agency Beka co-created based on his experience with every aspect of fashion design promotion, shoot production, and branding for up-and-coming labels.

• Hero Moments: Getting a hug from Tim Blanks at the Bottega Veneta show last year. One of only 200 invited to Saint Laurent’s menswear show in the Marrakech Desert; being featured in a Business of Fashion article; doing his first Vogue cover; meeting many personal heroes and fashion icons. 

• Looking Ahead: No merchandise planned … yet! Additional content featured on extensions that build upon the Style Not Com brand and format.

• What Endures: Despite his digital fluency, Beka is a huge proponent of the traditional runway, media, and publications. (Hint: The physical feel, smell, and textures will never go out of style and are a snapshot in time.)

• Embracing the Romance: The past is a powerful inspiration for Beka, who believes without nostalgia—understanding the past—there is no future.

• The Fashion Icons Beka Still Dreams of Meeting: Karl Lagerfeld (unfortunately no longer a possibility), Anna Wintour, Carine Roitfeld, Kate Moss, and Miuccia Prada.

• What’s Contemporary Now? Whatever comes authentically from the heart and mind currently but at the same time draws on and respects fashion’s rich archival past.

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Irish stylist Alastair McKimm joins Christopher Michael to discuss his trailblazing path to becoming i-D Magazine's global editor-in-chief. Growing up in Belfast in the '80s and '90s, Alastair was captivated by the distinct street style and elements of skateboarding, hip hop, and punk cultures. He encountered the fashion world through the pages of i-D Magazine, which introduced him to renowned designers like Raf Simons, Ann Demeulemeester, Martin Margiela, and Helmut Lang. Working with iconic designers and photographers has helped mold his career, alongside his perseverance and exuberant passion for the work. At i-D, he has built a solid team, injecting the publication with a reenergized vision, always keeping open to new ideas and perspectives, and keen on fostering collaborative exchange. So, what is contemporary now? To Alastair, it is honesty, authenticity, and a community of people who bring out the best in others.

Episode Highlights:

• Elements of education: Early exposure to street fashion in Alastair's native Belfast and studying fashion design at Nottingham Art School.
• Early influences: skateboarding, surfing, hip-hop, and punk; Raf Simons, Ann Demeulemeester, Martin Margiela, and Helmut Lang; i-D Magazine and Self Service, and their "advertising that wasn't even selling clothes, but a brand." 
• In the '90s, the internet was in its infancy, and magazine images were the outsized primary influence.
• Designs, casting, styling, and photography: Alastair landed his first job in London by showing up with his portfolio and networking his way into an assistant's job with Edward Enninful, then the fashion director at i-D Magazine. 
• Living the dream: Alastair relished every aspect of his introduction to fashion styling, though it was a steep learning curve—intense, terrifying, and exhilarating.
• Playing to strength: As administrative work was not his strong suit, Alastair focused on researching and scanning images from fashion archives, vintage, costume, and antique shops.
• Full circle: As i-D Magazine’s global editor-in-chief, Alastair has the institutional memory to reflect on the evolution of covers, collaborators, and the industry's interplay.
• Do the work: Alastair underscores the importance of working every rung of the fashion ladder to gain fluency, perspective, and core-level competencies.
• Building out the team: Camaraderie and collaboration, which Alastair believes are the most contemporary (and work-life enhancing) of all things.
• Church and state: The false divisions between art and commerce, and why growth and financial engagement are essential to building brands.
• Making old school more commercial: social media mastery; video content; and digitization. Post-pandemic workplace creative processes and communication: finding the balance between in-person and virtual; deploying platforms, such as Facetime, Zoom, WhatsApp, sms, and email.
• Capturing the moment: How do Alastair and his team look at covers, themed issues, and other editorial decisions shaping the look and priorities at i-D Magazine.
• Content versus collections: The curation processes differ.
• Editor versus stylist: open-mindedness and growth invariably evolve out of collaboration essential to publishing effective, compelling magazine content.
• How New York has become home—with touchstone influences like Gap, Calvin Klein, DKNY, Tiffany's, and many more.
• The World is Flat: About the globalization (and overlap) in today's fashion landscape.
• Saying No to the Fashion Vacuum: Alastair shares thoughts on how his longstanding affinity for street culture (and an open mind) keep ideas fresh and inspiration expansive in an often insular, self-referential industry.
• On having it all: How a blend of gratitude and a distinct personality have helped Alastair maintain a healthy work-life balance.
• Checking imposter syndrome: Giving back and being of service helps Alastair stay grounded.

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We are back with new thought-provoking exchanges with your favorite editors, photographers, creative directors, stylists, media mavens, and even NYT bestselling authors and masters of meditation and manifesting. We'll talk about sustaining creativity in a competitive world, mastermind marketing, the new new media, and also explore the ubiquitous and intriguing imposter syndrome. 

Our upcoming guests include Carlos Nazario, Luis Alberto Rodriguez, Kevin Tekinel and Charles Levai, Julia Sarr-Jamois, Alastair McKimm, Beka Gvishiani, Gabby Bernstein, Youssef Marquis, Clare Richardson, Jesse Israel, and many more!

Tune in to our first new episode on Monday, March 27.

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Vedic wisdom and meditation teacher Jonni Pollard reflects on today's growing wave of people seeking to create space and internal alignment in a noisy world. The co-founder of 1 Giant Mind explains to Christopher Michael why having a practice is more important than ever and how "internal reckonings" produce meaningful, reliable, and profound shifts in mindset and outcomes. "What's happening right now is a wonderful opportunity in the making for humanity to evolve," says Jonni. Creativity is rooted in authenticity that is accessible only when we are fully present to ourselves, and our purpose is in the now. In this episode, the master of mindfulness discusses the fractures generated by today's polarized social, political, and economic environment. How can we challenge ourselves to get engaged, reject disconnection, and focus on weaving together a more inclusive culture, reflecting our common energetic field and responsibility to one another?

Episode Highlights:

• What's Contemporary Now? Jonni's state of consciousness and the way he nurtures his relationship with what's happening in the present moment.
• The dismantling of ideas and expectations that have shrouded our responsibility to one another and the world at large.
• Today's psychology and neurology are inseparable from the mandate to open consciousness and shift away from denial.
• The great "What's next?": Pandemic disorientation has taught us that listening to our internal compasses is paramount.
• Attachment explained: Jonni contemplates universal intelligence, a vast spectrum of possibilities across one energetic field.
• Binary thinking: How rigid thought patterns entrap us in conflict and isolation.
• Consideration and self-reflection: the keys to open conversation and collaboration.
• Polarization manifests as fear of the "other," a gross misconception that falsely negates our fundamental oneness of being.
• Jonni weighs in on the burgeoning market for meditation in a society managing massive anxiety, depression, and constant stress on nervous systems.
• The relationship between meditation and creativity: When we restore and realign our minds and bodies, we see our true natures emerge and authentically flourish.
• Meditation shifts us from a hyper awareness of the external world to an inner experience that resonates more meaningfully, deeply, consistently, and reliably.
• Underlying the feelings that seem terrifying or stubborn is a place that is resolved, deeply aware, intelligent, confident, and powerful inside each of us.
• The call to action: If we're not fully engaged, we are susceptible to negative influences and ongoing disconnection. Meditation is a platform for taking ownership of—and reversing—this state of being.
• Transmuting stress: Sensations can bedevil us if we don't develop tools to witness, rather than identify with, them.
• Meditation opens up immense space and freedom to ride through anxiety and observe thought patterns without being engulfed by self-judgment or getting overwhelmed.
• What can a meditation practice yield? Agility through awareness and a deep understanding of priorities and values.
• Challenge yourself: Is what I'm doing coming genuinely creative, purposeful, or relevant? Or am I in survival mode, hustling to get by?

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Jaime Perlman, editor in chief and creative director of More or Less, has a riveting front-row view of fashion's evolving culture and ecosystem. Formerly the creative director of British Vogue, she has helped shape a conversation that embraces the bold and sensational over the noncontroversial and safe. Driven by instinct and a personal need, she created her magazine and online platform that celebrates a different kind of fashion, highlighting individual style—perhaps a bit more democratically. Taking her vision and dedication to all things creative a step further, Jaime uses her publication to underscore the impact of consumption and spotlight sustainability and inclusivity. In this episode, she weighs in on magazines' role in driving important topics, making socially responsible statements, and building a community around a brand.

Highlights:

• Although she didn’t know magazines would be her niche, Jaime was certain at a young age that she wanted to be part of the visual, artistic world.
• Good fortune and timing launched Jaime at Harper’s Bazaar in a moment of transition.
• From American Vogue to British Vogue, she creatively directed her way through a “weird manifestation” and realization of a dream to work abroad.
• Thoughts on the contrasting aesthetics and approaches—celebrity versus supermodel culture—among regional Vogue editions in less globally oriented times.
• Jaime reflects on Europe’s “edgier” aesthetic in contrast with America’s more celebrity-driven commercial approach.
• Pandemic aftershocks: Fewer reflexive, transnational travel for photo shoots.
• Sustainability, diversity, and the evolving ethics of responsibility and a purpose-led commitment to doing more with less consumption and more integrity.
• Vintage, resale, and the fashion ecosystem’s influence on price points and inclusivity. More for Less magazine is a “passion project” with a growing upside opportunity.
• Print is still relevant because it’s tactile, collectible, and compelling for creatives, but the format doesn’t have to be mass-produced or sourced without intention.
• What’s new in the magazine and publishing world: A meaningful cultural conversation—from what makes a good magazine cover to inclusivity of race, size, and gender.
• Magazine covers or social media platforms like Instagram: It’s all about seizing the moment to do something sensational.

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As a tastemaker, fashion editor, and stylist Gabriella Karefa-Johnson has a thoughtful, respected, and provocative take on the intersection between style and culture. At Vogue magazine, the venue she has long considered a pinnacle of excellence, she has pushed for evolution and has broken boundaries with tremendous success. Gabriella shares thoughts on how even those who have felt marginalized can scale the mountaintop and claim a place at the table without abandoning the concept of balance in life. She is all-in all the time while recognizing—and passing along—the power of kindness, words of support, and the importance of knowing what your “hustle” ultimately means in the big picture. This incisive episode highlights the role this dynamic game changer plays—and will continue to play—in the world she occupies. “Work the process of knowing who you are,” says Gabriella, “because it’s in those moments … of unease where you learn, and there’s the most growth.”

Episode Highlights:

• Getting a foot in the door: Gabriella made her first inroad at Vogue through a Barnard College alumna connection, starting the job without much grounding in fashion.
• Vogue magazine is a pinnacle in the fashion pantheon for Gabriella.
• Pushing against boundaries: Feeling at times like a “problem child” at Vogue, she sometimes  creates friction and challenges the platform to evolve in both vision and execution.
• Gabriella’s professional bandwidth and social life epitomize “Hustle Culture.”
• Wanting to be the best: A “dangerous desire” that has always driven Gabriella to measure her success and value by how much she’s doing.
• Is balance possible to achieve? There’s a level of success that can solidify your place in the fashion industry, but getting there requires a period of all-in dedication.
• Gabriella tries to be mindful that the struggle to reach that fashion pinnacle is real and meaningful, yet it cannot be everything in life. Reflection is required.
• The gift of authenticity is the secret sauce for influence and efficacy—not something that one can self-consciously cultivate.
• As much as she brings her whole and entirely unique self, she also brings mindfulness about what that persona is and keeps it real.
• The editor is the original influencer: Heralding huge heritage brands will always be the most significant contribution she has to make in the worlds of fashion and social media.
• Virgil Abloh was a fashion visionary who “was something to everyone,” and for Gabriella in particular, he was a “safety net” whenever she felt out of place in the industry.
• Hone in what you want to do and communicate to the world—regardless of whether you should be doing it or not. Work the process of knowing who you are because it’s in the moments of unease that you’ll find the most growth.

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To Emma Summerton, shooting the 2023 Pirelli Calendar was a dream—one that was years in the making. Entitled "Love Letters to the Muse," the 49th edition of the calendar is steeped in magical realism, with portraits going beyond aesthetical beauty to acknowledge women's strengths, talents, and sensibilities. The sought-after Australian-born photographer embraces freedom and constraints, and her work often relays this message, yielding a powerful, unique expression. As a visual artist, Emma meanders between making art awash with a distinctive vision and working as a fashion photographer with a sharp eye and a bold, dramatic style. In her much-lauded career, she's learned to overcome obstacles and keep projects moving forward in any scenario. Her mantra when it comes to the unexpected is "Have fun. Don't freak out." Adopting—and shockingly welcoming—chaos can be unexpectedly rewarding. As she recalls, what seemed as challenging and disastrous shoots, often turned out to be uncannily sublime.

Episode Highlights:

• “Love Letters to the Muse” is the culmination of Emma’s decades-long dream to imagine a unique Pirelli Calendar edition.
• The seven muses represented actual artists—rather than women who had inspired artists.
• Art or Fashion? Emma happily discovered that the two could coexist and complement each other.
• Emma plays with reality, transforming it with the camera, light, and composition.
• Emma got her first break as an assistant to a technically brilliant photographer, who gave her an education in both fashion and photography.
• Emma developed her voice and style through self-portraiture, which was also her entry into commercial practice.
• Emma revels in the uncontrolled element of throwing a creative party when doing her art versus marshaling disciplined results for industry clients.
• Expectations and judgment are ever present, the stress of which Emma manages by trusting her best instincts and staying in the moment.
• Emma reminds us that imposter syndrome is real, but usually, it’s less about others doubting us than us doubting ourselves.
• Technical skill helps compensate when plans go awry. Ultimately it’s about being agile and letting things land as they may, and then just getting on with it.
• Every artist interested in both personal and professional work must find a balance they can comfortably hold in daily practice. There’s no one recipe.
• Instagram, avatars, and the gaze of social media do not compel Emma—there is “nothing more fun than doing huge, big prints of pictures and having someone put them on a wall or make a book.”

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Ferdinando Verderi understands that to impact the fashion landscape we need to delve into the diversity of a lived experience—what we don't yet know about ourselves and our world. The lauded creative force and former Vogue Italia creative director today has pioneered a new type of creativity, one that is focused on inclusivity and community. Whether envisioning an iconic magazine cover or conceiving a groundbreaking Prada campaign, Ferdinando aims to challenge boundaries—not merely advance marketing agendas. In this episode, he shares with Christopher Michael his thoughts on what it means to be "contemporary" and why it is not enough for him to be an interpreter of the zeitgeist. Ferdinando believes the timeless and multidimensional moments creatives choose to examine, elevate, and share are far more transformational and stimulating than the "new."

Episode Highlights:

• Ferdinando’s minimalist personal website is a reflection of his strong desire to stay in the present, unfettered by the noise.
• Whether working with a magazine, institution, or company, Ferdinando infuses it with his hallmark irreverence and disregard for status quo expectations.
• Words of wisdom: “Try to avoid having to explain why you’re relevant!”
• Brand logos as vessels for energy, ideas, and originality—not marketing exercises.
• Community-building, values, and ideals are the defining elements of a brand, as opposed to strategic marketing conventions.
• Magazines have, in his view, an obligation to create a type of “clash” between superficial and more profound levels at which fashion can operate as a force for change.
• A single cover image can combine provocation and emotion—actions that imply a sense of risk-taking and the courage to go out and break bounds.
• Breaking bounds can open the way to new forms of expression and inclusivity without intimidation. It’s about challenging things that have felt unchallengeable.
• Magazines in today’s culture: A forum for revisualizing what irrelevance looks like.
• Fernando sees his platform—and the work of fashion generally—as a vehicle for highlighting social issues and challenging damaging tropes.
• Publishing, branding, seasonal platforms, products: Ferdinando sees each project as a discrete opportunity to explore layers and complexity without a single point of view.
• Coming to fashion without a rich background and extensive training enabled him to deploy a fresh perspective and challenge received wisdom.
• Multiple points of view: Ferdinando’s signature superpower is his ability to create community through multiplicity and fragmentation
• The idea of a mistake, a chance, or a variation, inspires recognition that we live in a multiverse of perspectives and experiences.
• For Ferdinando, “What’s Contemporary Now ?” is what exists among us at a particular moment in time—not something old or new, but what’s seen in the present.
• “New” is not an idea, and trying to get there can become artificial—the opposite of fresh.
• The concept of “new” versus “old” limits us to a linear understanding of time and reduces access to the regenerative arc of wisdom and ancient knowledge.
• Interpreter of the zeitgeist? No! Ferdinando thinks of himself as a contributor, which is to say a more active participant in shaping what’s contemporary now.

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Global PR Director Kevin McIntosh Jr. sees fashion magic happening for brands that embrace a broad range of creative voices, deploying a 360° strategy to promote their vision. A full-spectrum approach is nonnegotiable in today’s hyper-connected fashion landscape. As the chief executive officer at KMJR.World, Kevin shares with Christopher Michael his front-row perspective on why PR today encompasses everything from dressing celebrities and athletes to staging runway events and publishing a blog post or an interview in print or online. While social media and digital platforms have vast worldwide reach, Kevin still sees brick-and-mortar and real-life interactions as critical to cultivating honest consumer connections and building brand loyalty. He also weighs in on where the industry stands in terms of DEI (Diversity, Equity, and Inclusion) and how, now more than ever, contemporary culture is both shaped by and reflective of a melting pot  of influences. For Kevin, bringing diverse voices together is the way to shift culture, make noise, and have fun.

Episode Highlights:

• The mastheads of fashion magazines are limited and without much turnover, which prompted Kevin to cultivate his career in the vaster world of communications.
• The dynamism and exposure to global travel were a large part of what made Karla Otto a happy home for Kevin until he ultimately made the entrepreneurial leap to launch his namesake fashion consulting firm, KMJR.World
• Working with Virgil Abloh influenced Kevin and opened doors for him, putting him “in a position … to be taken seriously and respected.”
• Creating Space: As a Black man, Kevin had no illusions about the landscape he joined, but he’s encouraged by the growing community of color influencing the fashion industry.
• Fashion is built on fantasy and selling the dream, which Kevin allows space for even when working with authenticity and positive impact as his driving pillars.
• Nice guys do finish first! Kevin credits his reputation as a positive team player to a loving upbringing and an open, easy attitude.
• He sees increasing demand among brands for smaller, more agile communications partners who offer intimacy, personalization, and hands-on, accessible collaboration.
• He sees contemporary culture as reflecting a robust mash-up of influences, ranging from music, art and fashion to athletics and a life experience on any given city block.
• Branding today requires a 360° approach: Dressing celebrities, fashion sites and publications, working with partners to stage exceptional events—all of it.
• Runway shows as a global marketing tool that—while expensive—pay huge dividends in terms of exposure and reach.
• Digital has its selling points, but real-life events and brick-and-mortar offer irreplaceable energy.
• The metaverse is emerging, but Kevin is not ready to weigh in.
• Is it possible to build a heritage brand in today’s environment? “Yes,” says Kevin, “if you’ve got a compelling product and the storytelling to perpetuate it.”
• Defining PR: What does it really mean to publicize a brand—all kinds of packages and a variety of means designers and brands often don’t fully register.
• A global marketing strategy today requires a nuanced conversation that considers regional influences and how social media amplifies messages and shapes cultures globally.
• Kevin closes with thoughts on where Black creatives are in the industry today and the need to transcend performative gestures and optics to offer opportunity to the richest, most diverse possible tapestry of talent and lived experiences.

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Zinnia Kumar is anything but unseen, but would that have been the case had she not fought so hard on so many fronts? An ecologist, activist, writer, and model, this Australian multihyphenate shares her unique journey to claiming an undeniable presence. In this episode, she discusses with Christopher Michael the stereotypes that have trapped South Asians—especially women—ultimately shaping how they see themselves. More than anything, these discriminating notions are related to consumer psychology and the images sold by the beauty, fashion, and media industries. She details some  drivers of bias and unequal representation and highlights the blinding privilege of those in positions to affect change. Zinnia calls out stubborn systemic barriers and, as an optimist, offers thoughts on actionable steps toward creating a multicultural and multiethnic landscape. Her vision is one of representation of the full spectrum of human colors, shapes, and features—not as an act of tokenism—but as a reflection of our current global reality. As both a commercial face and a face for change, Zinnia profoundly understands what it means to young women everywhere to identify with visual representations.  And that accurate cultural and ethnic representation  is empowering and the way of the future. 

Episode Highlights:

• Why Zinnia believes consumer psychology is a driver in the commercial targeting and feedback loop around politics and unconscious biases that define the concept of beauty. 
• Zinnia highlights two types of beauty: The homogenized ideal people see daily on social media and elsewhere; New ideals and norms in the making, which are controlled by casting directors and tastemakers. 
• The commercial definition of beauty has expanded and has become more inclusive in terms of color, size, shape, features, and ethnic diversity; Zinnia believes in general that the beauty standard still reflects norms that existed 20–30 years ago.
• Enduring “Hierarchies of Visibility” projected in the media
• Despite inroads in colorism, the practice (and marketing) of skin bleaching remains popular globally, along with genuine social, psychological, and economic ramifications. 
• Actionable steps for change: Ban marketing and sales of bleaching products of any type; Reject the use of color as a performative marketing strategy, which is fundamentally superficial and indifferent to deeper social and psychological issues of colorism; Increase visibility for people of color and a full range of features.
• Zinnia’s view from behind the camera, as a social science researcher, and in front of the camera, as a model, has afforded her a glimpse of privilege and its impacts socially and psychologically, especially for young girls.
• A tumultuous and disadvantaged family history challenged Zinnia to intentionally practice optimism (rather than negativity and defeat).
• Is it truly inclusivity and belonging if culture, religion, or ethnicity define the roles in which models and others in the media are cast?
• Zinnia reflects on the issues shaping representations of South Asians
• The change that Zinnia seeks: An expanded conversation that enfranchises all under-represented minority, ethnicity, or cultural groups; Global inclusivity across all sectors—leaving no group invisible; Raising up—and bringing fresh perspective to—voices that have been historically unheard; Education through openness and candid conversations that raise awareness.

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What keeps creatives relevant in an industry that’s constantly evolving? Ezra Petronio has done it decade after decade by staying curious and riding the waves of technological and cultural change. In this episode, the Petronio Associates founder and creative director explains to Christopher Michael how he has been very intentional about the early adoption of digital innovation and media trends. He shares his journey as a magazine editor, photographer, and marketing visionary in New York and Paris, presenting a unique perspective on three decades of fashion and culture. Ezra and his team inspire trust by setting the stage for successful—very often highly experimental—collaborations by meeting clients (including renowned top luxury brands) where they are, with a commitment to communication and clarity. The episode wraps with thoughts on how the metaverse will likely impact the fashion industry and a compelling rundown of “what’s contemporary right now” for this thoughtful, multidisciplinary, and influential image maker.

Episode Highlights:

• Ezra attributes his career’s longevity to several factors: The early adoption of artistic innovation and the awareness of the power of the written word—as a student and as the son of creatives; A nimble response to evolving technologies, from manual typography to an early Mac with (wait for it!) three fonts to today’s instant desktop publishing; Access to a series of mentors and branding experts over a period of exploration, apprenticeship, and youthful development.
• It was clear to Ezra early on that digital communication would become a significant influence, which is why he eagerly immersed himself in the technology and its platforms.
• Self Service is about stretching the bounds of what a magazine can be, including experimenting with a pandemic-inspired video format with huge commercial potential.  
• Lessons learned in a fluid commercial and communications landscape: Fashion shows and presentations often fall flat visually online; More is not better when it comes to social media if it has no strategic vision; Engagement must now occur through numerous media channels; The pace (and quantity) of deliverables has quickened (and grown) exponentially. 
• The most successful brand collaborations are experimental and symbiotic, and they leverage complementary skill sets to execute a common creative vision.
• The most successful campaigns invariably have: Clarity around the brand’s vision; Stakeholder alignment around executing that strategic mission.
• Defining Terms: Building a coherent brand message means identifying goals (whether artistic, profit-driven, or both), then deploying the right vehicle.
• Mindset is Key: Forward-thinking brands like Yves St. Laurent or Prada embrace surprise, but that’s not always the case. Innovation requires trust and fearlessness.
• What will the metaverse mean for the fashion industry? It is too soon to tell about the timeline for adoption or commercial prospects; however,t Web 3.0 will undoubtedly drive more digital consumption. It’s a time to be curious, experiment, and pay attention!
• What’s contemporary right now: Our ability to determine what brings us maximum joy; Radical engagement and change; Supporting the things we believe in, in any medium; Modulating social media use and interacting with live opportunities; Seeking purpose and passion; Maintaining a sense of humility and continuing to question ourselves. 

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When it comes to the concept of “flow,” the fashion PR Lucien Pagès is Exhibit A. He has carved out a dynamic career in communications by following his instincts, keeping an eye on the big picture, and always staying true to himself. He explains to  Christopher Michael in this episode that his  Lucien Pagès Communications team is laser-focused on two things: identifying what makes a designer unique and then excavating that treasure for others to see.  An avalanche of new communications channels has profoundly changed the media landscape since Lucien started as an aspiring designer working for legendary houses like Christian Dior and Yves Saint Laurent in the 1990s and since he founded his PR agency in 2006. Yet, his personalized made-to-measure style of messaging is evergreen. No matter the platform, Lucien’s branding is all about capturing the unique humanity and vision embodied by his notable and up-and-coming clients: “The way we express fashion at its best is when we bring emotion.”

Highlights:

• The impact of early apprenticeships with heritage couture houses like Christian Dior and Yves Saint Laurent in the 1990s—a colorful fashion epoch pre-dating social media.
• The importance of staying current and curious, as Lucien’s mentors modeled for him, and he now models for—and derives from—the young people in his team.
• The role of communications in linking brand, designer, and media remains constant, even if social media has transformed the landscape. Today’s marketing, PR, and brand management is all about working a spectrum of channels, from Instagram influencers and mainstream magazines to TikTok and live runway shows.
• Is the fashion show dead? “To the contrary,” says Lucien. It’s lights, cameras, action—an expression of the industry that energizes creatives at all levels, of all ages. They’ve also been democratized by the advent of live streaming for an audience of millions.
• Web 3.0: Is it a thing? The wave may be coming, but it will break first in more tech-centric worlds and undoubtedly find adoption in the fashion industry, which took a minute to adapt to Web 2.0.
• Are heritage brands a thing of the past? Lucien wondered whether it was possible to establish a flagship fashion brand like Armani or Givenchy in today’s environment; he sees new talents like Simone Porte Jacquemus building a self-sustaining house.
• Is brick-and-mortar still a thing? Lucien believes storefronts are critical to creating an immersive experience that animates design and compels customers.
• Why Lucien Pagès Communications keeps focused on what it does best: Harnessing the power of media influencers across all channels to bring designers and brands to life.

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Beginning his career at the age of twelve, Sam Visser has become one of the most renowned makeup artists today, lauded for his sense of style, understanding of the camera, and the ability to find a unique beauty in any face. Sam boasts an impressive list of esteemed clients and creative collaborators, including the likes of Kendall Jenner, Amber Valletta, and Bella Hadid amongst many others. In this episode, he joins host Christopher Michael to shine a spotlight on the evolution of fashion and makeup, his definition of modern standards, and the muses that fueled his success in the beauty industry.

Highlights:

• Sam reflects on the moment he realized beauty was his passion and speaks of the time he took over his school’s art class when the teacher was absent.
• One photo you take and post to social media can change your life. Sam talks about why he dropped out of high school, how he started working for Kris Jenner, and the importance of mentorship for an artist.
• Makeup artistry enables  self-expression, creativity, self-discovery, and the ability to inspire others throughout the process.
• If you don’t label something or someone, you can see the  unique beauty in everything. Looking back on his school years, Sam reflects on the power of finding someone beautiful for who they are and how that translated into his beauty career.
• How do you differentiate fashion and editorial beauty from. commercial beauty?
• Beauty is ever-evolving, yet we continue to draw inspiration from past looks. Sam shares his candid thoughts on his inspiration from past fashion aesthetics, like the 80s. He also shares some of his greatest muses.
• Sam’s perspective on beauty, fashion, and glamor is shaped  by cinema, fantasy, and unrealism.
• Is makeup for the everyday the same as makeup for the camera? Listen in to hear Sam’s opinion.

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The creative duo Benjamin Huseby and Serhat Işık is behind such brands as GmbH—the label they started out of Berlin—and the century-old Milanese fashion house Trussardi. Bringing diverse backgrounds in fashion photography and design, they discovered in each other the perfect collaborator. Today, they break down the social codes of different cities, explore the importance of creating communities, and learn how to lean into the cultural wealth, which at times left them marginalized, sees them sought out by a world where luxury constantly seeks a renewed and contemporary iteration. Generously sharing their personal journeys, we can glimpse the many ways that the past has ultimately informed their work today.

Episode Highlights

• Exploring and figuring out a brand’s ethos, is a natural kind of reaction to being appointed to a position of taking over another brand, per Serhat.
• Benjamin says that they are in many ways discovering Milan and also trying to kind of unpack the cultural significance of the brand, what it means to them and also what it could mean for the future. Especially to the younger generation.
• Revitalizing the brand and giving it a new sense of creativity is the main thing, and we are still kind of working out the language, says Benjamin.
• Italy as a market in general has historically been slower than most others in terms of New York, Paris or even London to become more diverse.
• The topic of inclusion and diversity has been dealt with very differently from country to country and very much based on the local history.
• During the first GmbH show in Paris, people wrote that their casting was severe or aggressive, but so much has changed in a very short time.
• It's impossible to have a conversation just purely about aesthetics and design until we can get to a point where it's normal to have brown and black designers everywhere, says Serhat.
• Benjamin moved from London to Berlin to sort of escape fashion a little bit, only to end up starting a fashion line together with Serhat.
• There are times when we both get really exhausted by identity politics on a personal level, like always having to talk about everything that shaped you as a person, says Benjamin.
• There are some structural issues within Germany. You don't inherit the citizenship or the school system which separates and segregates people of different communities, says Serhat.
• While working with GmbH and Serhat, Benjamin really discovered an appreciation for his own heritage in a way that he didn't really have before.

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You might know her as a supermodel, actress, and an activist. She's worn many different hats both on and off camera, but she also plays the role of sustainability ambassador to a diverse roster of  partners, such as Karl Lagerfeld, British Vogue, and New York City’s FIT. In this episode, we talk about the joys of creativity, Amber’s love for the fashion industry, her passion for continued education—an effort to make a greater impact along the way—and the challenging task of reconciling the disparity between a traditional growth model and a sustainable one.

Episode Highlights

• Amber talks about her journey in fashion and at what point in her career she realized the impact that fashion has on the environment and more.
• When Amber was in her 20s she felt disconnected and started looking for things outside of modeling that fulfilled her as a person, such as education and the environment.
• When she first moved to Los Angeles, she became more aware of and better understood  pressing climate change issues, and started working with various NGOs. One, in particular, The NRDC, was working inside the fashion industry and it was doing something called “clean by design.”
• When Amber decided to come back to fashion a few years ago, she had launched a platform for responsibly made fashion, Master & Muse. Once she started that, she found that she needed to match her values to what she was doing in her career, whether it was acting or modeling—anything that she was doing. The lens through which Amber looks is directed by environmental and social justice.
• For Amber, it all started with an insular group of people who are still at the table talking about environmental and social justice today;some belong to charities,  organizations, NGOs, B2B conferences, or sustainability panels.
• The climate crisis is here. It's not something far off in the distant future. It's already happening, and we've seen and experienced all of the changes in conversations around diversity and equitable living wages for people, but there needs to be more.
• According to Amber, the biggest conversation that we are having right now is about these issues, and if you are not talking about them and you are not thinking about them, then you are doing something wrong.
• “You can't support a brand or a company if you don't know what it is doing,” says Amber. “Our perfectionist mentality is causing paralysis. It doesn't actually create solutions. We don't create solutions from being in this sort of negative mentality.”
• “Optimism is such a fundamental driver behind creating any real change because if you can't see beyond, to what can be, then you don't really have a great deal of fuel behind whatever it is you're trying to achieve and you will just continue to repeat the same thing day in and day out.” says Christopher.
• “Growth is possible, but it doesn't necessarily need to be in the way we are thinking. If we become a circular industry, we start using all of our waste as a new source for materials.” says Amber.
• “If we go back to what's been, the source of life for billions of years, it's way more intelligent than we are.”
• “When we think back to a period of time, we think about the clothing and the hair and makeup. It defines a moment, and if fashion could harness that power and move it through the supply chain to make it fair and equitable and sustainable, then the sky's the limit.”
• “If you get stuff in your mail that's like signing this petition for XYZ that's for the environment or human rights. If you believe in it, sign it. Don't just delete it.”

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In this episode, Christopher Michael speaks to Glen Luchford, legendary fashion photographer and filmmaker whose images are often referred to as iconic and cinematic. The conversation flows from discussing the future role of a photographer and the emerging marketplace of the metaverse to new technologies, how Glen has adapted to them, and broaching his failures, and what he has learned from them along the way.

Episode Highlights

• “We are only just out of the pandemic, but obviously it's expedited a great deal of change that otherwise seemed as though would have taken years.”—Christopher
• “Post-Covid the industry definitely has changed.” says Glen. His personal central focus is essentially metaverse and how that's going to change all of our lives in a dramatic way. He actually spends most of his time educating himself in Web 3.0, anticipating all of the changes that are coming.
• Glen was working with film in the late 90s and 2000s, then he abandoned it. He was going to be a photographer and focus on doing it as well as he possibly could, rather than trying to do three things at once.
• Exploring the different ways he found to keep himself on his toes and not become complacent.
• Glen’s belief is that the metaverse will be a revolutionary thing, changing the way we see and think about everything.
• We have had several years of exploring the idea of digital versus print, but we are now in a time where culture is driving so much in terms of fashion and trends. With that fragmentation or democratization, Christopher wonders what the role of a magazine cover is today.
• “Does a Vogue cover have the same power as five seconds of footage of a supermodel falling about laughing with her friend on Instagram? Probably not.” says Glen.

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“What's Contemporary”, the galvanizing platform, has returned in a new podcast format, which felt more fitting for our ever-consuming and insatiable query. This season’s conversations feature returning contributors like Glen Luchford, Ezra Petronio, and Emma Summerton alongside newcomers including Amber Valletta, Ferdinando Verderi, Lucien Pagès, Jaime Perlman, Hung Vanngo, Gabriella Karefa-Johnson, Kevin McIntosh Jr, Sam Visser, Benjamin Huseby and Serhat Isik, Jonni Pollard, and Zinnia Kumar. Tackling the threads that weave the contemporary patterns of today’s culture, “What’s Contemporary Now?” brings forth compelling discourse from leading thinkers who share their thoughts around intriguing topics like the metaverse’s emerging marketplace, what beauty means today, the likelihood of building a present-day heritage brand, as well as discussing a myriad of other perspectives and ideals. Subscribe now to listen to a new episode each week.

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