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

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

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

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

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

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

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

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

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

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