What's Contemporary Now?

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

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

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

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

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

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

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

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

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

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

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.”  Learn more about your ad choices. Visit megaphone.fm/adchoices

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. Learn more about your ad choices. Visit megaphone.fm/adchoices

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. Learn more about your ad choices. Visit megaphone.fm/adchoices

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.” Learn more about your ad choices. Visit megaphone.fm/adchoices

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.”   Learn more about your ad choices. Visit megaphone.fm/adchoices

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.’ Learn more about your ad choices. Visit megaphone.fm/adchoices

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.” Learn more about your ad choices. Visit megaphone.fm/adchoices

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. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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