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

What's Contemporary Now?

What's Contemporary Now?

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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 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
  • Tish Weinstock Is an Amorphous and Contemporary It Girl

    Tish Weinstock Is an Amorphous and Contemporary It Girl
    Oct 27 2025
    Talking to Tish Weinstock offers the kind of unfiltered honesty — or, as she calls it, radical honesty — that every interviewer hopes to find in a guest. She has a unique ability to move between the frivolous and the deeply meaningful with equal parts wit and whimsy, leaving you to wonder whether she’s someone who refuses to take herself too seriously or simply someone who won’t struggle against whatever feels truthful in the moment. Whether you know her from her work as a writer, her time in front of the camera or on the runway, or simply as a familiar face at all the right parties, she’s one to watch for anyone curious about culture and the people shaping it. In a conversation that spans her early experiences with loss and grief, the chaos of her intern years, and a recent visit to a trauma retreat in America, this episode has a little something for everyone. “When I wrote that piece called I’m an intern, not an idiot and someone from upstairs came running in to tell me to take it down, that’s when I realized your words actually matter, that they can shake something even if the system doesn’t want them to.” - Tish Weinstock Episode Highlights: On early influences Tish grew up in London in a traditional home marked by early loss, gravitating to darker, sardonic heroines and art that felt surreal, spooky, and sincere. On first contact with fashion She obsessed over ad campaigns on her bedroom wall and later realized that what drew her in was storytelling through images as much as clothes. On finding the door in A chance encounter at a friend’s house led to internships at Tank and Garage where she learned the grind and took her first steps into writing. On writing as power At i-D she published I’m an intern, not an idiot and learned that words move systems even when the system pushes back. On becoming a beauty writer by accident She did not care about products at first and then noticed beauty as identity and language in a new wave of body positivity, drag, and Instagram natives. On Isamaya French and Dazed Beauty Collaborating there showed her how beauty can merge subculture, technology, and art long before the wider culture caught up. On creativity and authenticity The work sings when the obsession is real and it falls flat when the topic is traffic bait that she does not care about. On writing today Substack rekindled her love of writing as a living diary where immediacy and imperfection feel more honest than highly polished feeds. On wellness and the mind A week without a phone at a trauma program helped her reframe negative thoughts and confirmed that presence is a practice not an arrival. On what is contemporary now Radical honesty feels most alive today since culture is saturated with performance and curation and audiences are hungry for what is real. Learn more about your ad choices. Visit megaphone.fm/adchoices
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    47 m
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