What's Contemporary Now? Podcast Por What's Contemporary arte de portada

What's Contemporary Now?

What's Contemporary Now?

De: What's Contemporary
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Designed for curious minds, "What's Contemporary Now?" engages various thought leaders across cultural industries taking in their broad, compelling perspectives and unveiling their common threads. Hosted by Christopher Michael Produced by Shayan AsadiWhat's Contemporary Arte Diseño y Artes Decorativas
Episodios
  • The World According to LDSS

    The World According to LDSS
    Nov 17 2025
    In his first-ever podcast interview, Ludovic de Saint Sernin traces the journey from a nomadic childhood to becoming one of fashion’s most closely watched voices. He talks about the diary-like beginnings of his brand, the Mapplethorpe collaboration that became a full-circle moment, and why he sometimes becomes his own muse. We explore queerness, visibility, and the tension between intimacy and scale as his label grows, along with how travel, community, and personal history shape his work. He's a designer committed to beauty, honesty, and the freedom to define oneself. If you want to understand the world of LDSS—its sensuality, vulnerability, and conviction—this episode is the essential entry point. “Being contemporary now is being recognized for your uniqueness and cultivating it with audacity and strength, with a community around you that helps you build the message.” - Ludovic de Saint Sernin PS His collection for Zara is available in stores today. Episode Highlights: On names and identity The full name is a mouthful, even in French. LDSS exists so the world can say and recognize it easily while still honoring who he is. On an itinerant childhood Born in Brussels, raised in Abidjan, then dropped into Paris’s 16th where labels mattered. It was the shock that taught him how clothes define presentation and power. On finding fashion From sketching landscapes and Disney to sketching clothes in Paris. A mother who spotted the obsession early and sent him to draw, paint, and sew. On family and those legendary road trips Seven siblings across three marriages, languages braided together, summers packed into a car from Brussels to Portugal. A chaotic joy that shaped his sense of community. On travel as fuel Travel began as risk and escape and became a network. Work trips are less sightseeing than people finding. Inspiration now comes from the community he builds city to city. On launching the brand Leaving Balmain, making a first collection alone, putting a diary on the runway, and discovering a business on the fly when buyers immediately placed orders. On message and responsibility Autobiography became brand DNA. The work mirrors his story and holds up a mirror to queer life today, insisting on visibility without losing grace. On Mapplethorpe and making it personal A full circle collaboration treated like a six-month devotion, with hand work by Ludovic himself and the show in New York to honor the photographer’s city and spirit. On the designer as muse He steps in front of the camera when the story is intimate and the image needs his body to make sense. Be your own muse as liberation, not vanity. On what is contemporary now Visibility, audacity, community. Cultivating uniqueness with confidence and surrounding yourself with people who help you build the message. Learn more about your ad choices. Visit megaphone.fm/adchoices
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    44 m
  • The New Masculinity, According to Samuel Hine

    The New Masculinity, According to Samuel Hine
    Nov 10 2025
    For GQ’s global fashion correspondent Samuel Hine, clothes have always been more than fabric; they were a form of identity long before they became his career. Growing up as an identical twin in Chicago, he learned early that style could be a language of individuality. That instinct eventually led him to New York, a meeting with Will Welch (through a friend of his grandmother, no less), and what’s now a decade-long career shaping how we read and interpret menswear. In this conversation, we talk about the evolution of fashion criticism, the rebirth of men’s style, and why GQ’s “new new masculinity” reflects more than just trend but a cultural recalibration. Hine shares his thoughts on writing as both love and labor, the designers moving fashion forward with integrity over hype, and what he calls a quiet “masculine renaissance” where men might not all be okay, but at least they’re dressing the part. “I never thought of being visible or outward-facing as a strategy. I just always felt that being out in the world—seeing what people are wearing, what they’re talking about—is part of the job. It’s not just a role you perform, it’s a person you become.” - Samuel Hine Episode Highlights: Finding identity through clothes — Growing up as an identical twin in Chicago’s North Shore, Samuel used clothing to differentiate himself, from refusing blue jeans to obsessing over Oxford shirts and shaggy sweaters. From Chinese and history to fashion — A self-described reader before writer, he majored in Chinese and history, then realized fashion could be his intellectual project as much as his personal style. Early media spark — Running his high school radio station and interviewing Liz Phair showed him media could be a passport into worlds far from his suburban life. Studying men’s fashion criticism — An independent study traced men’s fashion writing from Oscar Wilde to Tumblr, convincing him there was space to take menswear as seriously as he did. The GQ break — A friend of his grandmother connected him to Will Welch; he started as Welch’s assistant, then grew with the brand across print, web, social, and events. What the global correspondent does — “Go where the action is.” He covers the men’s and co-ed weeks worldwide, files features and fast leads, collaborates with 13 GQ markets, and lives between planes and pages. Show Notes and niche obsession — His GQ newsletter lets him cover the hyper-specific: show reviews, underground designers, and off-runway lore, building a direct pipe to readers beyond SEO. Who’s winning now — He praises Ralph Lauren for steady world-building over clout-chasing, and singles out Dario Vitale’s Versace debut for feeling genuinely fresh, young, and wearable. Who would matter without hype — Designers who would make clothes regardless of money or press: Eckhaus Latta, Kiko Kostadinov, Telfar. Purpose and compulsion over noise. What’s contemporary now — Print. As an antidote to algorithmic brain-rot, magazines channel human taste and help readers develop their own; the medium feels newly vital. Learn more about your ad choices. Visit megaphone.fm/adchoices
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    42 m
  • Sarah Ball on Editing What’s Contemporary Now at WSJ. Magazine

    Sarah Ball on Editing What’s Contemporary Now at WSJ. Magazine
    Nov 3 2025
    At this year’s WSJ. Magazine Innovator Awards, Billie Eilish asked, “If you’re a billionaire, why are you a billionaire? Give your money away” — a line that instantly reverberated far beyond the room. It was a reminder of the event’s magnetic pull and its place as a mirror for culture’s contradictions. Under Editor in Chief Sarah Ball, WSJ. Magazine has become precisely that kind of reflection: glamorous, self-aware, and culturally indispensable. In this episode, Ball reflects on her path from a D.C. household stacked with newspapers to leading a magazine that continues to grow in both influence and revenue. She speaks about the art of editing in an age of speed, the new language of luxury journalism, and the enduring power of a story told with precision and care. ““I loved beautiful glossy fashion and style media, but I also loved very tart writing about style and fashionable people — that eyebrow-raised, gimlet-eyed, social scorecard kind of writing that mixed elegance and critique.” - Sarah Ball Episode Highlights: On Growing Up Surrounded by Media — Raised in a Washington, D.C. household that received five newspapers a day, Sarah describes an early life shaped by constant conversation, curiosity, and the sound of pages turning. On the Early Spark — Between Capitol Hill’s newsroom corridors and stacks of Vogue and Vanity Fair, she found herself drawn to storytelling that combined politics, aesthetics, and human behavior. On Robin Givhan’s Influence — She credits Givhan’s fashion criticism for teaching her that clothing could be language — a way to read power, politics, and cultural change. On the London Years — A summer at the Associated Press covering the highs and lows of early-aughts London — from Kate Moss’s tabloid saga to art auctions and nightlife — cemented her love for culture writing. On the Golden Age of Vanity Fair — She recalls the thrill of that newsroom under Graydon Carter: “You don’t know you’re in a golden age until the golden age is over.” On Quality Over Quantity — Ball resists the speed-at-all-costs mentality of digital publishing: “If what you’re serving is reheated garbage, are you really going to keep that reader?” On The WSJ. Audience — She describes WSJ. Magazine as a luxury product with a discerning readership: “They pay a lot to access our content, therefore they expect a lot.” On Visual Storytelling — A cover, she says, must surprise: “It has to show you someone in a new light — a story and an image that feel like an experience you can’t get anywhere else.” On Video and the Future of Formats — Ball sees video — particularly conversational formats like podcasts on camera — as one of the most powerful frontiers in media: “The informality of the video podcast is replacing entire swaths of traditional television. These conversations now shape culture in real time.” On What’s Contemporary Now — For Ball, it’s humor. “A playful and unself-serious sense of humor feels most contemporary — people laughing together again, not at each other.” Learn more about your ad choices. Visit megaphone.fm/adchoices
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    46 m
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