kimono. Evan Clayton
shirt + belt. Tthhaannkkss Vintage Archive
trousers. Local Pervert
coat. Shrimps
gloves. Stylist’s own
glasses. Mooki May
“I danced for three years without my parents knowing.” It’s an odd start for any career to be sure, but the secrecy from which Gilbert Small’s dancing stemmed is especially surprising given the power, honesty and absolute mastery of the stage he shows in every performance. “When I presented it to my parents that I wanted to dance, my father told me that I couldn’t,” Small explains. “But I really wanted to, and my teachers saw that there was a talent, and so with their help, I was able to be in an after-school program for academia, but get my work done fast enough that I could just go on to my dance class… I knew from the very first moment I went into a dance class and got to express myself in that way, that it was going to be the thing I did all my life.”
Small speaks from Seattle, Washington, where he is now based. Seattle may be quite a leap from Baltimore, Maryland, the city where Small discovered dance but it is not the furthest he’s travelled for his craft. Past experiences include education in the Netherlands and performances all over the world. Those international experiences not only strengthened Small as a dancer but expanded his notions of what the very label of “dancer” meant.
“Going to Codarts [in Rotterdam, Netherlands] to this day is one of the best decisions I’ve ever made in my entire life,” he says. “My approach to my artistry really, really shifted. In North America, the training is often an athletic endeavour. Something I really took in and got from being in Rotterdam is the artistry – the investigation of the moment, the investigation of my body and space, how I could soften myself to be more expressive.” This expressiveness is a fundamental part of Small’s performance today. “I say to a lot of people that I grew up in Rotterdam. I really shifted from a boy to a man artistically.”
skirt. Rick Owens
shoes. Nike
hat. Clyde
The boy-to-man metaphor is a loose fit, given Small’s proclivity to blend the artistic lines between traditionally “male” and “female” movement. Both sides are now essential to creating his art, he claims. “That was something that I think I got from going to Rotterdam, that vulnerability. I think I was trained to be strong in my North American training, almost at a deficit. Going to Rotterdam really taught me about vulnerability, about how, in softening, I am able to be more expressive… As men, we aren’t always asked to do that in dance, especially in classical training.”
Before settling in Seattle, Small spent ten years dancing for Ballet BC, a company based in Vancouver, Canada. He was the company’s first hire after the arrival of their new artistic director, Emily Molnar, in 2009. “When she got the job, she asked me to come with her,” Small recounts. “I was her first new hire, and I watched the company grow. It’s been something that I’ve just known.”
Now leaving to be an independent artist, Small looks back on the experience with both appreciation and disquietude. “The level at which I create art will always have to be at this level now because that’s what I expect from myself. That is kind of scary, and exciting at the same time, to be leaving, to be moving 100 per cent to a new city, and to really be creating a new life – it’s ahuge shift,” he admits.
skirt. Rick Owens
shoes. Nike
hat. Clyde
Along with this departure comes the expected sovereignty (and worry) of independence. No longer tied to a contract, Small is in charge of his own artistic and financial dealings. “That’s a type of being on top of things that I haven’t really had to do for the past year,” he says. “I have to make my own schedules. I have to make sure that I don’t have things crossing or double book myself. I have to make sure that I know how to negotiate my money in ways that I haven’t had to. That is nerve-racking. I’ve already had to have money talks with people, and it’s not something that I feel super comfortable doing yet.”
However, one of the joys that come with this freedom is getting to engage with up-and-coming artists again. Speaking after a recent teaching experience at Cornish School of the Arts in Seattle, Washington, Small is overcome with positivity. “It was nice to be in a space with artists on the verge of their career, and to have me – I’m young compared to their other teacher – to have us so close in age, they were ready to learn from the moment I walked in the door. I saw it, and I felt it, and it inspired me to really give all of myself to them.”
kimono. Evan Clayton
shirt + belt. Tthhaannkkss Vintage Archive
trousers. Local Pervert
coat. Shrimps
gloves. Stylist’s own
glasses. Mooki May
Teaching represents only a small facet of Small’s Seattle life, but it is one he is growing to cherish. “I just want to be able to be in environments where I can give young dancers first-hand knowledge. It’s much nicer to do it now when I’m not too far removed,” he admits. “There’s something that I find with teachers whose careers ended years ago, where they sometimes forget what it feels like to be on the other side of the room… It’s really nice to connect on the level of, I know what it means to be a dancer but to be able to lead in the way of saying, but I’ve experienced all of this, so I’m trying to give this knowledge to you because it’s something that you don’t have yet.”
This freedom isn’t as unregimented as it might sound, though. Although admittedly less so than in previous years, Small is a goal setter — navigating his way forward through a rigorous process of setting and breaking personal bests. “I used to be quite neurotic about it. I used to have a timeline with dates and years, to the point that I felt, artistically, it was almost pushing away other possibilities,” he explains. “I want to create my own works here in Seattle, I want to teach. I have my goals, and I have the order I know they need to show up in order to support each other, but it’s not as strict as a timeline.”
skirt. Rick Owens
shoes. Nike
hat. Clyde
For now, Small is content to finally be able to call Seattle home. “I haven’t spent more than three weeks in this city at a time,” he tiredly announces. But those plans may soon change. He is currently in talks with choreographers from around the globe about potential work in the coming months. At this moment, a bit of relaxation is welcome. “In this time, I’d rather be with my partner here in Seattle. I’m levelling out my life and working with younger artists – creating work for myself and not just for Ballet BC is very important to me. My life is really centred around creating. That’s just what it knows.”
Courtney LaPlante has built a reputation on contrast. As the lead vocalist of Canadian heavy metal band Spiritbox, her voice moves effortlessly between restraint and rupture, while her presence carries an authority that feels equal parts intimate and unshakeable. It’s a balance that clearly extends far beyond the stage. And as metal continues to carve out its space, Spiritbox’s nomination and appearance on the Grammy stage signal more than a performance. It’s a statement.
When the band released “Soft Spine” from their sophomore album Tsunami Sea early last year, it became a confrontational call-to-arms and delivered with the kind of clarity and conviction LaPlante has made her signature. And in the hours leading up to their performance — in which she wore a custom Ashton Michael patent harness — Schön! was invited into LaPlante’s dressing room and offered a glimpse into the process behind the power, and the woman at the centre of it.
photo. Ana Massard
Lana decided to put tape in extensions in and not just clip-ins, and it was so much more comfortable in my hair for the long day… I still have them in!
photo. Ana Massard
photo. Anna Massard
photo. Anna Massard
photo. Ana Massard
Acacia has done my nails for the Grammys three years in a row, but since I’ve been doing press-ons lately, she was able to come be a part of the big morning with me for the first time, and put them on with all of us.
photo. Ana Massard
photo. Anna Massard
photo. Anna Massard
Putting on a brave face.
photo. Anna Massard
photo. Judson Harmon
Our publicist needs to get those leash backpacks for us that they put on little kids.
photo. Judson Harmon
photo. Judson Harmon
Christina re-worked my stage makeup for the red carpet, and it’s time to go!
photo. Judson Harmon
photo. Judson Harmon
I wanted to wear this great frog glass eye ring that I borrowed since Michael has the matching necklace, and three years in a row, I have worn my favourite bracelet that my manager got me, which is very sentimental to me. The other rings are the ones I wore to my biggest ever headline show, and I always wear my wedding bands. Each piece is very meaningful to me, and I wear them every day, on stage and off.
Step into Gray Harris‘ world in this Schön! editorial captured by photographer Max Mikulecky with fashion by Mai Sakakibara who styles Harris in looks by Ulla Johnson, Helmut Lang and others. Hair by stylist Takayuki Ume with make up by artist Zoë Derks.
jacket, shirt + trousers. Helmut Lang
shoes. Stylist’s Own
opposite
jacket, shirt + trousers. Helmut Lang
jacket, shirt + trousers. Helmut Lang
shoes. Stylist’s Own
faux fur coat. Ulla Johnson
flats + tights. Stylist’s Own
faux fur coat. Ulla Johnson
opposite
faux fur coat. Ulla Johnson
faux fur coat. Ulla Johnson
flats + tights. Stylist’s Own
faux fur coat. Ulla Johnson
faux fur coat. Ulla Johnson
top. Helmut Lang
midi skirt. Jill Sander
top. Helmut Lang
opposite
top. Helmut Lang
top. Stylist’s Own
opposite
top. Stylist’s Own
top + dress. Stylist’s Own
opposite
top + dress. Stylist’s Own
There are two types of people in the world. Specialists and multidisciplinary individuals. That’s not to say a specialist can’t be multidisciplinary at all, or vice versa. But what’s intriguing about Bailey Bass is her positioning at the intersection of the Venn diagram, which we get a glimpse of in our conversation. She’s taken on many roles not only as an actress, but also in her personal life, connecting ideas across fields like psychology, a resurgence of hobbies, and writing.
In ‘Avatar: Fire and Ash’, Bailey’s character, Tsireya, continues to serve as an emotional anchor within Pandora, embodying empathy, resilience, and quiet strength amid growing chaos. Through her, the film explores how tenderness can coexist with ferocity, and how choosing empathy in moments of destruction becomes a form of resistance in itself. All of which Bailey parallels in her personal life.
In between bouts of laughter and a charming zest for life, Bailey Bass speaks to Schön! about her metrics for success, a newly set up career wall, and of course, ‘Avatar: Fire and Ash’.
Congratulations on the release of ‘Avatar: Fire and Ash’. You’re playing the very graceful yet strong Tsireya. When joining the ‘Avatar” world, what excited you?
I didn’t know what was going on. It was my first movie. This is my new normal, and I think I was just excited to work. I’ve been auditioning since I was five. I booked it when I was twelve – that’s a long time before you get to live out your dream. I had really low expectations, but I’m just so excited to be a part of a franchise that’s been a part of my life for so long.
That’s insane. It’s a relatively short period of time to make it big, but when you’re 12, that’s half the life that you’ve been auditioning.
Oh my God, no, it’s such a long time. They say give Hollywood seven years, and I guess it’s true. It’s a short time in your life, but the rejection is really hard. I was modelling so much that I had filler — it didn’t hit me the way it hits me now, where I’m ready for the next role. I don’t have much to complain about when I’ve played really nuanced female leading characters I can actually be proud of.
It takes a lot of women ahead of me to have paved the path where I don’t feel objectified in my first roles, which I feel like was kind of a rite of passage that a lot of women had to go through for a long time in the industry. That doesn’t seem to be something we have to do anymore, even though there’s still much more to go. I’m grateful that a lot of the roles that I’ve played with Claudia and Tsireya have been so strong and empowering.
That’s so nice to hear, I’m glad that your experience has showed change in the industry.
Well, it’s still hard, I’m still a woman, but I’m just grateful for my character. I mean, there’s still a long way to go.
dress. Loulou de Saison
earrings. Agmes
opposite
dress. Stella McCartney
earrings. Saulé @ Yaya Pubicity
Of course, one little win at a time. When playing Tsireya, did you find yourself reaching areas that, in yourself, as Bailey, you maybe hadn’t explored before?
I didn’t know how to swim. It was three girls at the end of the audition process, and I remember I was paired with the boys, and that was a blessing in disguise for the swimming part because I was like, “I’m not gonna let them beat me. I’m gonna fake it till I make it.” I honestly thank that moment of being paired with a boy who clearly has been swimming his whole life, and I barely knew how to doggy paddle. I had to prove myself very quickly.
Kirk Krack, who is an amazing freediving instructor — he’s worked with Navy SEALs and Tom Cruise on ‘Mission Impossible’. He said at the end of filming, where I had a breath hold of six minutes and 30 seconds, and I was almost leading the chart when it came to swimming… He says, “You grew so much.” Because they wrote in their notes in the audition process, “she needs work, but has a lot of potential.”
That’s so funny. I tried holding my breath and could only do about 50 seconds.
That’s still a long time. I can still do a minute. I love it when gym bros are like, “let’s do a breath hold competition,” and I always beat them. That feels so good. Fuck their push-ups.
Are there any traits from Tsireya that you had in common, or traits that you would like to adopt from her?
I had a lot of similarities to Tsireya from [‘Avatar’] two and three. James Cameron (Jim), our director, and Margery Simkin, the casting director, is a badass. I love her. She’s a legend in the game, and she knew, even though my audition was shit, that the empathy was there. I always had that compassion and empathy for other people.
Growing up really low income — I’m first generation — the family I grew up with had that immigrant mindset of ‘we will make it through, this is better than where we came from’ and I’d be like, ‘well, this is still not great’ and they’d say, ‘but we can do it.’ I already had those qualities. 2025 was really hard being an American and being in the United States. I’ve definitely been hardened by it.
I’m really interested to see, as we’ve seen the chaos in ‘Fire and Ash’ and the chaos that I’ve experienced as Bailey in the world, what that’s going to mean for Tsireya’s empathy, because I’ve seen it in myself. I don’t think Jim and Margie are mind readers and can predict the future, but I think they knew I had enough goodness in me that if you start from that place, it’s easy to shape and add the trauma in afterwards, which I have enough of as well.
full look. Burberry
Oh dear, why are you giggling?
You have to laugh. There are actually studies that show that people who’ve experienced the most trauma are the funniest.
It’s like they say, if you don’t laugh, you’ll cry.
Exactly. It’s 2026, we’ve persevered! That’s why — what I talked about in the beginning — those little moments, it’s still not fair. It’s still frustrating, but I realised that you have to be a part of the system to change the system, and have compassion for yourself. I didn’t decide to be born in a brown female body, but what can I do to create the change I want to see? I know you know, but that’s a tough pill to swallow, and I swallow it every day. Being a part of the system and smiling and being nice helps me make much more change, which I know sometimes I just want to pop off the internal rage. I’m a New Yorker. I’m like, ‘someone shove me on the subway, this needs to come out.’
So now that ‘Avatar’ has wrapped, what stayed with you the most? Was it the character, the people, maybe a specific moment on set?
I forget. Actually, I’m going to show you — I created a career wall in my new apartment. It’s still in the making. This is from ‘Interview With the Vampire’ — it’s not done, I still need them to send stuff from ‘Fire and Ash’. Seeing this every day has actually made me remember all that I’ve achieved because it’s really easy to think, ‘I have four more semesters of school before I can even apply to grad schools,’ or ‘I really want to produce this project, and it still has so much more to go.’ But it’s like, look how far you’ve come.
Honestly, I wish I could say what stuck with me was that you have to keep going, that bravery is really important. The issue with me is that, because I’m such a perfectionist, it doesn’t stay with me. So having those reminders, a good therapist, journaling, and having really good friends that tell you you’re doing great. What makes me great at my job is that I keep striving to be better. And yes, that’s great, but I am glad that I made this wall because it reminds me of how far I’ve come. I’ve been working since I was two.
That’s unbelievable, by the way.
Yeah, I go to Columbia University to study psychology, and going back to school has helped me feel like a kid because I had to grow up so fast. I’ve been working with adults, even on ‘Avatar,’ I was the only teen girl, and Trinity was seven, so that was isolating. There were gaps in my childhood, so I’m grateful for — as much as I’m still working, still love being in entertainment — having those moments of normalcy because I do feel like I’ve played as an actor more than I’ve played as a kid.
dress. Angelina Poppy @ REP Agency
earrings. Agmes
rings. Swarovski
opposite
dress. Loulou de Saison
earrings. Agmes
You’ve also balanced growing up, working, and evolving creatively all at once. How do you protect your sense of self outside of acting and work?
I have really good friends and a community. I’m gonna start knitting, having hobbies that have nothing to do with work, because as a child, my hobby became my job. So, as I’m entering my adulthood, finding things that I don’t want to make a career out of, something that’s genuinely just fun for me. I love reading, I read every day, that’s really important to me and having some type of routine, because [work] is freelance and every day does look different. Having routine things that I don’t get paid for is really important because it reminds me that my self-worth is in me just being me. But it’s definitely not easy.
I have jobs outside acting — I work as a research assistant and comms person for a nonprofit on campus, I grant write for half the story, but being able to use different parts of my brain and also not boxing myself in. I know I’ve talked about school so much, but that’s reminding myself I’m not linear. I’m not just an actress, even though that’s filled so much of my life; I am so much more than this one thing, and I love that we live in an era where people can have multiple jobs and be multifaceted, and that is celebrated.
With multifaceted freelancing, ‘Avatar’ being such a huge film, and working since you were two, what does success mean to you now? Has it changed at all within your life?
I check in with ‘am I happy?’ I’ve reached a point in my career where there are so many people on the email chain, and I have not seen all of them in person, but they’re all working really hard to achieve a mutual goal. But that goal in education is not going to be the same in acting. Growing up as a kid actor, you want your team to be a part of every aspect of your life. I’ve had to realise my manager’s not necessarily gonna care if I get an A on this essay, and that is okay. So, remembering that I’m leading the ship and that success stems from ‘Am I happy?’
That’s tough when so much of my success has been being an A student in school and working on set, being a really good friend, daughter and sibling, and being able to get everything done on time — that is what success meant to me. It honestly slipped me into such a deep depression when I realised as an adult, I have to check in on myself now, I’m not a kid anymore. That transition, while also being in the limelight, and wanting to be really good at my job, was not easy. Going back to those pillars of, ‘Am I happy? Did I read today? Did I go outside today? Did I do things that fill my cup?’
dress. Loulou de Saison
earrings. Agmes
I love that happiness is your priority. With ‘Avatar: The Way of Water’ press tour being your first time out of the country, and now fresh off the ‘Avatar: Fire and Ash’ tour, which place have you loved the most, and are there any places you’ve yet to tick off the bucket list?
I went to Canada for like three hours because we crossed the border a couple of weeks before the press tour. That doesn’t really count, we went go-karting in Niagara Falls, and they didn’t even stamp my passport. Even being Belarusian and never being to Belarus — I speak Russian, I am so ingrained in the culture, so people think I’m from there when I speak about it. I’m grateful that I grew up in Gravesend, Brooklyn, immersed in so many cultures.
I went to Malta for the Malta Film Festival. It’s such a special country, and I feel like it needs to be highlighted so much more. They’ve done so much for the film industry. I went to the tanks there because they knew I worked on ‘Avatar’, so we were geeking out about the tech. Malta will always have a special place in my heart. The people are so amazing.
Italy is one of my favourite places. Going to Milan for the ‘Fire and Ash’ press tour was amazing. I really want to go to Iceland, to go hiking in Argentina for a week. I’m an adventure seeker, and I want to go somewhere that’s exciting. Alaska is on my list for this year, and Thailand for a girls’ trip. I went skydiving for my 18th birthday in Arizona. I want to do the crazy stuff that. I ate a cockroach on set when I was eight. Been there, done that.
Did it taste okay?
It tastes spicy and crispy. No, it wasn’t a cockroach, it was a cricket. It builds a great personality.
Looking ahead, are there any new projects in the pipeline? Any genres, roles, or stories that you want to get into? What’s next for Bailey?
I really hope we make more ‘Avatars’. I love that I’ve continued being in this weird character actor space. I have said for years that I want to be in the ‘Game of Thrones’ franchise, and the fans want it too. Every time she speaks Russian, they’re like, ‘why does it sound Targaryen?’ It’s because I grew up in America and my accent isn’t great.
I want to continue doing things that feel really epic. Give me character work, and I just shine. I think it’s because I feel so removed from myself, but I also see the sensitivity in the characters. I am excited to eventually go to grad school and continue doing psych research. I’m fascinated by studying how much work you have to put in to be great. It’s quite niche, but the people I’ve worked with say ‘research is me search,’ so continuing to not put myself in a box and seeing where it goes.
But honestly, my grandma asks, ‘what are your dreams for months from now?’ I kind of have them, but I could get a call and be in a different country, which I will be at the end of this month, which is what happens. It’s two weeks at a time. I’m here for the vibes, and the vibes have been great.
