Based in New York, where he moved from Canada to pursue a career as a model agent (he would ultimately become Chief Creative Officer at The Society Management, and later Ford Models), Michael introduced the first iteration of What’s Contemporary? in 2011, establishing a zine-like digital platform to satisfy his widening curiosity in the creative work of some of the industry’s most significant figures, many of whom he was already in dialogue with via his day job: his first guest was Katie Grand, Glen Luchford followed. 

That iteration wrapped in 2014, and the new podcast launched in 2022, in tandem with his move to freelance consulting (the ‘now’ arrived with this new era, emphasising a quiet distinction between the two). Though it skews fashion and is industry-led, at their core, each episode speaks to human ingenuity, applying fashion as a lens to survey culture more broadly, as the editor discusses below. 

How did you arrive at the initial iteration of What’s Contemporary? in 2011?

By 2008 I had started interviewing creatives because I was curious about the makings of imagery we all had such reverence for; BTS was growing at a rapid rate, and people like Franca Sozzani were on CNN speaking about the industry. That sparked more curiosity, giving me the idea to start a platform addressing the question of ‘what is contemporary?’. It was a sort of digital zine where people like Katie Grand answered the question of what’s contemporary using their visual language; then we would have a conversation about it. By 2014 I was unable to sustain the platform because I was asked to join The Society Management. In 2022, I stepped away, and in tandem with that, I decided to relaunch What’s Contemporary? in the podcast format because, at the end of the day, that’s very much a contemporary medium.

Beyond this sense of being contemporary, what most excited or intrigued you about the podcast format?

I felt like if we were going to revisit the question in an interview series, podcasts were an incredibly feasible medium when it comes to ensuring you’re able to speak specifically to the people you’re interested in because you can kind of talk to anyone around the world.

Fashion is traditionally a visual medium. Why do you think the industry has embraced podcasting – what does it offer creatives and audiences that other mediums can’t or don’t?

It depends on the show. Oftentimes, people aggregate fashion podcasts as one group of things, but if you actually listen, the content is incredibly different: a magazine podcast, a lot of the time, will be trend-centric or the backstory to a shoot. Ours identifies as a culture show but explored through the lens of creatives. A lot of [our guests] are aspirational figures, and hearing personal anecdotes, challenges and successes is something slightly different, the way it taps into those stories. I’ve always liked the way Vanessa Friedman thinks, which is that fashion is the ultimate Trojan horse that infiltrates and touches everything. So, the combination of my own history in the business, as well as it being a show. But it’s oftentimes more about human stories.

You’ve previously described your episodes as like “speed-dating snapshots of personal experiences,” and they’re generally only between 21-45 minutes long. Why do you think audiences respond best to this shorter length?

You have to consider the subject matter and the audience you’re catering to: a lot of people interested in these stories typically feel they’re somehow on the go. When I’m scrolling through a list of episodes and see a title that intrigues me, if it’s 90 minutes I put it on a list to consume later, whereas 30 minutes feels palatable. It’s meeting people where they are and without disrupting their day. 

What are some of the challenges or obstacles you’ve had to navigate with the podcast so far?

You are at the mercy of someone’s internet connection, but for the most part, it’s an incredible ride. There are moments where someone has analysis paralysis; despite the fact they were the most eloquent person before recording, there’s something quite daunting about knowing what you’re saying is being recorded for public consumption. It can paralyse people’s ability to speak articulately, but that’s normal in any version of media. 

Building on that, what would you suggest are the foundations for a successful podcast?

Right now, more than anything, people are craving humanity, but you also want the sexiness. There are a great deal of sexy traits, elements and aspirational qualities to creative industries as a whole, and the people we focus on are directly informing what culture looks like. At the risk of sounding cliché, you have to find your voice and what it is that you are genuinely interested in and dive in accordingly.

And how conscious are you about audience figures – does it inform the creative decisions you make?

Curation has always been paramount in the decisions we make around the show. Over time, you notice variables that inform performance, but the quality is always seated in consistency, and consistency is based in our unique curation. 

Lastly, where do you see What’s Contemporary Now? and fashion podcasting more broadly, going next?

I certainly want to grow beyond audio only and bring it more into the live event space. So, let’s see what that looks like. As a whole, I think podcasting is like a healthier version of social media – there’s an intentionality. It’s managed to create such an impressive amount of community under the banner of different subject matter, so hopefully that’ll continue. And I’ve thought for some time that the event space is going to be the ultimate arrival point for a lot of these other mediums, including podcasts because human connectivity is only going to become more important as we find ourselves facing an era of hyperreality. 

Don’t know where to start? Christopher picks eight crucial episodes from the What’s Contemporary Now? archive.

Tim Blanks (listen)

“Watching Tim on Fashion File while growing up was, without question, a formative experience in my foray into what then felt like the Mount Olympus of worlds. His knowledge of fashion, and his incomparable ability to animate opinion into tangible reality using no more than the written and spoken word, was something I was always deeply in awe of. During our conversation, he shared that he’s always felt like an outsider in the industry, despite being an unquestionable authority within it. That, along with other intimate revelations, was a stark reminder that bravado is rarely the hallmark of credibility, and that those who truly know rarely feel the need to shout it from a mountaintop.”

Vanessa Friedman (listen)

“I’d actually never met Vanessa before our conversation for the podcast. Her stumble into fashion journalism – once having dismissed it as ‘stupid’ – made perfect sense once we began discussing her views on various subjects relevant to the industry. There’s a kind of logic and consideration that transcends personal taste, one that feels filtered through a broader lens. She respects the dream while managing to pierce its veil, making her work a refuge for anyone seeking to understand not just fashion, but its cultural relevance and application.”

Mel Ottenberg (listen)

“Mel occupies a particularly distinct role in the front row, as well as in the worlds of publishing and styling. There’s always been a certain grit and a refusal to take it all too seriously that’s made him stand out over the years. So when he told me that he thinks it’s now contemporary to be afraid to say what you actually think, I was surprised. But more than anything, it was his admission that he’s more interested in people and images than clothes that left me wondering: without the added context of culture, is fashion still compelling enough to capture the mindshare of a wider audience?”

Paloma Elsesser (listen)

“I’ve always admired people who have a true command of language, and to me, Paloma is as much a voice in the culture as she is a model within it. Of course, everyone is a multi-hyphenate these days – we’ve moved beyond the rigid boxes we were once expected to fit into – but Paloma speaks openly about her intention to agitate the system, and she’s done so with purpose and clarity. She embodies the convergence of what feels contemporary today – whether it’s sobriety, advocacy, or simply the power of self-knowledge. Honestly, we could all take a page out of her playbook.”

Katie Grand (listen)

“I’ve long been in awe of Katie’s habit of resetting the paradigm. Whether it was the influence she wielded with POP – long before biannuals became standard practice – or the creation of something like LOVE, where she brought together everyone from supermodels to then–fashion faux pas Victoria’s Secret Angels, placing them alongside unexpected celebrity choices in stories that never failed to be widely reshared, she remains a paradoxical outlier firmly seated at the insider’s table. The fact that she’s not much of a planner, seemingly guided by a simple ‘Why not?’ mentality, has always been a source of inspiration for me when it comes to editors.”

Sara Moonves (listen)

“Sara Moonves’ W has become something of a beacon in the world of print. Despite her clear understanding of brand extension – events and other bells and whistles that have quickly become essential pillars of any successful media brand – the curation remains timely, managing not only to retain its readership but to continually grow it. It’s never fashion for fashion’s sake; there’s always a cultural touchpoint embedded in the offering, whether that’s art, cinema, or music. Hearing that all of this is accomplished with such a small team only reinforced my belief that brand equity is almost always rooted in the unique edit and close collaboration.”

Boringnotcom (listen)

“Like anyone else, we were curious about the voice behind this critical account gaining traction at rapid speed – and we certainly didn’t say no when they asked to come on the show. As expected, we were asked to sign an NDA ahead of recording, even though the cameras were off and their voice wasn’t recognisable. While I’m definitely a fan of critical thinking – and often feel there isn’t enough of it – I remain on the fence about whether we need more criticism in general. Still, hearing the reasoning behind the anonymity and the varied perspectives of our green-square contributor gave the audience a chance to decide for themselves whether the self-proclaimed authority was warranted. Sidenote: the account continues to gain industry-leading followers by the day. Whether it’s to ensure nothing terrible is said about us – or because we’re all a little too drawn to salacious content – it definitely says something about the culture.”

Lyas (listen)

“What’s not to love about Lyas? Yes, his fashion narration carries a critical edge, but it feels more buoyant and instinctive than much of what’s emerging from the ever-growing pool of online commentators. It doesn’t hurt that he makes it all genuinely entertaining (and possesses a certain pretty privilege that can’t be ignored). But, more than anything, it was his sincerity that struck me. He’s unapologetic and feels deeply real, even in his most curated moments. A conversation with him left me genuinely optimistic about the spirit of youth, proof that it’s not all languish and lamentation when it comes to the future of creative industries. Long live Lyas.”