What's Contemporary Now?

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, a fashion entrepreneur with roots in the skateboarding and alternative music scene, shares his journey from Supreme to Noah. He discusses his creative direction focused on building a well-intentioned business. The podcast touches on the significance of finding strength and community outside of mainstream culture, consumer behavior and creating change, the challenges of contemporary values, achieving work-life balance, and exploring the resonance of new values in a post-pandemic culture.

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

Graphic designer Ruba Abu-Nimah discusses the impact of punk rock and hip-hop on her creative journey. She challenges the value of formal education, emphasizing the importance of art school. Abu-Nimah explores the power of youth rebellion and democratizing art, drawing inspiration from Andy Warhol. She shares insights on the balance between digital and analog craftsmanship, while reflecting on the significance of travel and cultural diversity in shaping her artistic perspective.

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

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

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

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