London DJ duo AUDIOCOMINGSOON are a fitting embodiment of the contemporary energy of London’s music scene. The pair are multi-hyphenates, navigating the worlds of fashion and audio. Behind the music, Ashton Gohil and Emmanuel Lawal are close friends who bonded over their deep love for music. It’s a passion that has opened doors for them in the worlds of presenting and DJing. When Schön! chats to the duo, they’re at Madrid’s Mad Cool Festival with Polaroid Eyewear. Gohil tell us how ACS came to be and both creatives eagerly share some of their defining tracks in a curated playlist for Schön!
Hey Ashton, what are you up to right now?
We’re at Mad Cool festival presenting and interviewing people for Polaroid Eyewear.
If someone asked you what your origin story was, how would you describe it?
[Emmanuel] and I met through a mutual love of music. We both played instruments. We started to learn how to DJ and we were really rubbish at the start. We used to go to clubs and literally press play. We started doing the fashion circuit, started doing events and working with a few fashion brands. ACS is a triangle so we have the DJing, the presenting and the podcast.
How would you describe your personal style in three words.
Eccentric, vibrant and colourful.
What is the most precious thing in your wardrobe?
My jewellery. I wear a lot of gold.
Which living person do you most admire?
It changes every year. As you grow older you draw different things from different people. I would say that right now, I always look at Idris Elba. He’s managed to navigate multiple industries. He’s managed to stay on top of his game. He’s a friendly character but he’s also a colourful character. He’s always himself and that’s what I try to do. I try to be the same person in every room that I go to.
Who would play you in the story of your life?
Remi Malek
If you could play any venue which one would it be?
I went to a crazy club in Brooklyn recently called The Brooklyn Mirage. I was like yo, I need to play here.
leather jacket. SANDRO
vest. AHLUWALIA
trousers. PAUL SMITH
loafers. REFRENCE
opposite
full look. Valentino
leather jacket. SANDRO
vest. AHLUWALIA
trousers. PAUL SMITH
loafers. REFRENCE
opposite
full look. Valentino
Credits
What does it take to inhabit the mindset of a man moments from death — suspended in the cold, black stillness of the deep sea, tethered only by hope and memory? For Finn Cole, stepping into the role of diver Chris Lemons in ‘Last Breath‘ wasn’t just an acting challenge; it was a test of endurance, empathy, and emotional precision. Known for his sharp instincts in ‘Peaky Blinders’ and ‘Animal Kingdom’, Cole has evolved from rising talent to a performer with palpable emotional depth — one who understands that great storytelling lives in the fine balance between technique and vulnerability.
In conversation with Schön!, Finn Cole reflects on filming ‘Last Breath,’ the physical demands of underwater filmmaking, the emotional toll of portraying real-life trauma, and the quiet resilience that carries both character and actor through the darkest depths.
Hi Finn! Thank you for chatting with Schön!. To start, how has your approach to acting evolved since your early days on ‘Peaky Blinders’ and ‘Animal Kingdom’?
I’d say I’ve learnt a lot of things since the early days: tools to make the job easier and more enjoyable. Mostly discipline with rest periods and routine in my down time to help me focus when working. The approach is different depending on what the part asks of me, I suppose. Figuring that out is the fun bit.
Are there particular techniques, rituals or methods you rely on to immerse yourself in a role, especially for intense performances like ‘Last Breath’?
With ‘Last Breath’, I had to focus on the diving training before I could even think about the character. Once I got comfortable with the technical side of the underwater stuff, I found lots of stretching and meditation helped me focus when I had the helmet on. That actually aligned quite nicely with what we were taught early on in training, so that was a change to my normal approach.
What makes a script stand out to you when you’re deciding whether to take on a role?
Pacing, character, and interesting dilemmas. This script offered all of those things and also allowed me to learn a new skill. That, to me, is a nice bonus!
Are there any actors or filmmakers who have significantly influenced your career or approach to storytelling?
Cillian and Helen were great role models in the early days of my career. John Wells imparted invaluable wisdom in the 6 seasons we worked together on. The list is endless! I love actors who use the ‘less is more’ approach and, alternatively, I’m a huge fan of those who push the boundaries. I just love film and learning from all who make it! Woody and Simu also deserve a special mention for the amount of fun they injected into the shoot day.
Do you see acting as more of a technical skill, an emotional experience, or a combination of both? How do you balance those elements?
Definitely a combination of both, depending on what you’re trying to achieve. You have to draw upon both of those skills very regularly. Emotional sensitivity and intelligence allows you to find interesting answers to questions posed by writers, but you also have to hit your mark and work with the camera efficiently. Best not to overthink it though…
How do you handle emotionally demanding scenes? Is there a process you use to step in and out of a character’s headspace?
Keeping distractions to a minimum is quite important. Without stating the obvious I also push myself to think deeply about the character’s headspace and try to sit with it for as long as possible. It can take a lot of energy though, so it’s sometimes hard to switch off after the more emotional scenes.
‘Last Breath’ is based on true events. How did knowing the real-life outcome impact your approach to the character and the story?
I think it’s important not to tell the end of the story before it’s time. You have to earn an ending like that. The movie, for the most part, plays in real time, making it crucial to stay fully present in each scene to avoid revealing any plot points.
polo shirt. Geordie Campbell
jeans. TDR @ GARBSTORE
opposite
full look. Geordie Campbell
shoes. Lanvin
polo shirt. Geordie Campbell
jeans. TDR @ GARBSTORE
opposite
full look. Geordie Campbell
shoes. Lanvin
Credits
How did you prepare to portray a real-life figure like Chris Lemons, especially considering the harrowing circumstances he endured?
Yes, Chris was very helpful and gave me his phone number right away in case any extra correspondence was needed. There are aspects of the story that the movie could explore further than the documentary could, so it meant I had lots of deep and quite emotional questions for Chris. He was very generous throughout.
It was very helpful to have Chris to talk to, as well as other men who do this job. I wanted to capture the essence of Chris’ personality and I got to ask him some pretty difficult questions. It’s important to be respectful, though. Chris was an absolute gent while I was preparing for the role and extremely supportive throughout!
Has playing Chris Lemons in ‘Last Breath’ changed the way you think about fear, survival, or resilience?
Yes, I suppose it has made me a little more optimistic. It’s also a reminder of how fragile life is.
The film involves intense underwater scenes. What kind of training or challenges did you face while filming those sequences?
There were lots of challenges I’d never come across before on a film set. One of which was having to practically light myself with a flare during the pitch black underwater scenes. Another was having to angle the helmet in such a way that you catch my face, but not so you see the camera reflection in the visor. It made so many takes of backbreaking work unusable. That can be quite demoralising when you’re tired, but we had a fantastic communicative crew who helped us through it.
What was it like working alongside co-stars Woody Harrelson and Simu Liu in such a tense and confined setting?
It was a dream! I’ve been lucky enough to work with lots of fantastic co-stars in my career and these two fit nicely on that list. It’s a pleasure and a luxury to be able to rely on such great scene partners and also have a really good laugh while doing it. So much so we hung out a lot off-set too!
Director Alex Parkinson previously co-directed a documentary on the same subject. How did his experience with the real event shape his direction in this narrative film?
Alex is an expert on this story. I wouldn’t be surprised if he knew more about what happened than the people involved in the accident! His attention to detail and his patience was something that gave us great confidence and for this reason I can’t wait to see the next thing he makes!
The film delves deep into themes of survival and human resilience. How did you emotionally navigate these themes during filming?
I relied hugely on the creative people around me throughout shooting. I was also able to ask Chris some pretty intense questions which he answered frankly and with great emotional detail. It was then my job to do all of that justice on the day. It also helped massively to do all the diving for real. It allowed me to dive much deeper into Chris’ emotional state (if you’ll pardon the pun).
Considering the film’s setting in the North Sea, how did the filming locations and conditions contribute to the authenticity of the story?
We filmed at night in a big tank in Malta. A little warmer than the North Sea, but still pitch black and deep down. It played a huge role in ensuring the film felt claustrophobic and intense. You can’t fake the way the body moves in the water, so although it complicated certain aspects of the filming process, it really helped us achieve authenticity.
Is there a particular scene in ‘Last Breath’ that challenged you the most, either physically or emotionally?
Definitely the scene where Chris is coming to terms with and accepting his fate. It’s a strange headspace to sit in for so long. There were also technical lighting and framing challenges to contend with due to the location and plot. It’s hard to be told after a long take of giving it your all that the camera didn’t capture your performance because you haven’t lifted a light close enough to your face! Luckily the team were extremely communicative and articulate when directing me so we got there in the end. All in all it was a great challenge and one I won’t forget in a hurry.
full look. Valentino
opposite
shirt. Saint Laurent
full look. Valentino
opposite
shirt. Saint Laurent
Ivana Batakovic has always believed that fashion goes beyond clothing — it’s a language of confidence, strength, and individuality. As the founder and creative director of Batakovic Belgrade, she has built a brand that embodies this philosophy, blending sharp tailoring with effortless femininity to create garments that make an impression without the need for words.
Her journey into fashion started with an obsession: textiles. Before launching her brand, Batakovic worked closely with some of the finest luxury fabrics in the world, understanding their nuances and how they interact with movement and form. But working within the industry wasn’t enough — she wanted to shape her own vision. “My goal is not to dress a woman but to give her something she feels unstoppable in,” she explains.
The DNA of Batakovic Belgrade is deeply connected to its namesake city. “Belgrade is not just a place on a map; it’s an attitude,” Batakovic says. “My brand carries that bold, unapologetic elegance to the world.”
This duality is evident in her designs, which take inspiration from classic menswear tailoring but reinterpreted through a feminine lens. “I love playing with contrasts — masculine tailoring meets delicate draping, structured fabrics flow into soft silhouettes,” she says. The results are timeless pieces that empower the women who wear them.
Batakovic’s Spring/Summer 2025 collection proves just how true this statement is. Statuary silhouettes, pronounced shoulders and a lot of attitude. At the same time, a soft neutral palette contrasts with the structured designs, striking a perfect balance between masculine precision and feminine fluidity.
The brand’s journey began with Batakovic’s fascination with textiles. Initially focused on sourcing the world’s most refined fabrics, she soon realised she wanted to shape the very garments that define modern luxury. “I don’t design for the moment; I design for the memory,” she explains, emphasising her commitment to longevity over fleeting trends. This philosophy translates into garments designed to last, both in quality and aesthetic relevance.
While outerwear remains central to Batakovic Belgrade, the brand is expanding into accessories and complementary categories, building what she envisions as a fully realized Batakovic universe.
“Batakovic Belgrade is the perfect balance — precision of masculine tailoring and the effortless grace of femininity. That’s what makes it irresistible.”
top + skirt. You Wanna @ TATA LA
shoes. HAVVA
gloves. Bundi Store
opposite
jacket. Harbison
necklace + ring. COS
top + skirt. You Wanna @ TATA LA
shoes. HAVVA
gloves. Bundi Store
opposite
jacket. Harbison
necklace + ring. COS
Credits
“But I think sometimes you have to be a little insane,” says Australian actress and singer Aisha Dee as she explains having a “pie-in-the-sky thought” about becoming an actor at a young age despite not having any connection to the industry. Best known for playing Kat Edison on Freeform’s comedy drama ‘The Bold Type’, Dee has captivated audiences with her sharp wit, undeniable charm, and authentic voice across various projects exploring themes around social media, surveillance, and information overload, to name a few. But it is Dee’s latest role as Chanelle in Netflix’s ‘Apple Cider Vinegar‘ that truly highlights her depth. Especially in a series where appearances reign supreme, and the obsession with identity reinvention is matched only by the art of deception. Throw in the fact the show was inspired by a true story, and surrounds a “wellness” guru and you welcome a little more insanity.
Schön! speaks with Dee about her year, her experiences as Kat and Chanelle, and her upcoming music.
bodysuit. Good American
shoes. KAUD @ TATA LA
necklace. CENDRÉ
tights. Wolford
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
bodysuit. Good American
shoes. KAUD @ TATA LA
necklace. CENDRÉ
tights. Wolford
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
Credits
How’s your year going so far?
Part of me is tired [Laughs]. Is it really going to be April? I feel we’ve established that time isn’t real [Laughs]. I feel like [this year has] been a whirlwind! Over the last few years, I’ve been going back and forth to Australia more than I used to. Initially, it was to be closer to my family, but now it’s kind of evolved into me really wanting to be there. Growing up, I didn’t always feel like I fit in, but now I’m finding a new appreciation for it. And I think it maybe took leaving and joining the circus to kind of find myself and become a bit more comfortable just occupying all of the different spaces within myself. It’s been really nice to reconnect my love for the place that I’m from.
That’s beautiful! When did you know you wanted to act?
I did [know I wanted to act] from a quite a young age – a very delusional child, I was. My favourite people are the delusional ones, honestly. A delusional adult, if you can believe it. I had this pie-in-the-sky thought that I would just be an actor and it would just work out despite not having any family connection to it or any of the resources to even get there. I think people thought I was a little bit insane, but I think sometimes you have to be a little insane. I think sometimes naivety can really be your friend when you’re trying to do something that people don’t expect or that doesn’t come easily to you.
I’ve just been kind of making it up as I go along and I kind of just have this mindset that I just want to work with really good people and enjoy a really good process. Whatever comes from that will come. I love all genres. I actually love movies and television and I just want to be a part of it. I just want to tell stories and I don’t really have any kind of limitations in my brain in terms of what it looks like.
You’ve played such a diverse range of roles. Let’s talk about ‘The Bold Type’.
‘The Bold Type’ is like the gift that keeps on giving. So many years later, people still really love that show. It’s amazing. It hit at an important time, and I think especially during the pandemic, it became this comfort show for people. It was aspirational but also predictable in a good way. It touches me that people still connect with it so much. I’ve been lucky to work across different genres, and I just love storytelling. I choose roles that I resonate with, roles that make me feel something. If I find myself feeling defensive over a character, like they’re my friend, and there is fire in my belly, then I know it’s the right one.
Do you feel that you felt that for Chanelle and how did ‘Apple Cider Vinegar’ come about?
Oh, completely. I was on holiday when I got the script. I wasn’t in the mood to read anything because I was feeling a little depressed at the time, honestly. I got a call from someone on my team who said I should give this another look. So, I gradually decided to read the first 20 pages and I was absolutely hooked. I loved Chanelle right off the bat. She was my girl and I just kind of felt immediately obsessed with the story – and also outraged at what was happening. It really spoke to something kind of beyond just the character.
Out of all the characters, Chanelle had this really strong moral compass – a really strong sense of what was right and what was wrong. And then she also had some questionable morals herself. It was layered. I loved that she wasn’t completely virtuous, but that she was still kind of fighting for what she felt was right. She had that really comfortable relationship with her outrage and anger at the whole thing. In a way, I choose characters that I think will hopefully maybe teach me something. She really taught me to be honest and to say the truth even when it’s painful or scary.
The show really taps into the overwhelming amount of health information we see today. Was that part of what resonated with you?
Absolutely! There’s so much conflicting health advice, and trying to advocate for yourself can be exhausting. The show really captures that frustration.
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
Credits
How is Chanelle similar (or different) to Kat from ‘The Bold Type’
Yeah, I actually do think that there are some very strong similarities between Kat and Chanelle for sure. There’s strength to both of them. They [both] run towards the problem and I think in terms of their trauma response or their stress response, they’re [both] fighters for sure.
Is there anything you hope viewers will take away from watching ‘Apple Cider Vinegar’?
I have lots of thoughts on this. I feel it’s such an interesting show because I don’t know if it tonally really fits anywhere. It exists in this special place. And I’m always really apprehensive to say what people should take away from it. Maybe it’s just [about] that awareness that there is a lot of empathy put out there. I do hope that people leave the show feeling empowered and also a little bit less alone if they are feeling overwhelmed. I hope they feel empowered to advocate for themselves in the health and wellness space because they’re beautiful spaces.
You also have ‘Watching You’ coming up. What can you tell us about it?
It’s an adaptation of a book, an erotic thriller with psychological elements. Honestly, I think it’s really different, especially for Australian television. It is also very different, tonally, from anything I’ve ever done. But again, you know, I like playing characters with a little fire in their belly and characters that are willing to run towards the problem. Even though my roles have been of different genres, it seems there are common threads in them of privacy, power, and control.
How did you prepare for ‘Watching You’ compared to ‘Apple Cider Vinegar’?
‘Watching You’ was physically demanding. I had to do more stunts and physical stuff than I’ve ever had to do. I’m usually a yoga and Pilates girl. But it was really fun.
Finally, ‘One More Shot’ premiered at SXSW in Austin, Texas. How was your experience in that movie?
Honestly, I had the best time filming that movie. So silly and so fun. I thought, “Oh, this character doesn’t have to cry once. Fantastic.” I think I need to do a movie where I don’t have to do traumatic stuff. So, it was a nice little breath of fresh air between these quite heavy projects. I did it for that reason because I can’t keep digging into the trenches of my trauma for my work. I need to find some lightness and happiness. Actually, it’s taught me a lot about balance and rest.
Anything else you want to tell us?
I am working on new music! I’ve actually just started collaborating with friends that work in different mediums to create something together too. So, it’s not just an audio medium, but I’m working with my friends who are visual artists as well. I’m excited. It’s nice to have a creative endeavor that exists completely outside of any construct. It’s literally just me on my laptop, usually sitting on the floor with my keyboard. So yeah, the [new music] – it’s on its way. It’ll be out.
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
top + skirt. You Wanna
gloves. Bundi Store
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
top + skirt. You Wanna
gloves. Bundi Store
