sheri’s travel guide | istanbul

full look. Dsquared2
jewellery. Osh Jewelry

Abigail Cowen was supposed to be having a quiet summer. One of those off-duty stretches filled with sunlight, rest, maybe a road trip, maybe just a good book and a playlist full of Mumford & Sons and country twang. “I started the summer thinking I was going to rest,” she says, “and I did for a little while…” The pause hangs in the air like the break before a twist in a movie. Because of course, she didn’t stay still for long.

Now, instead of beach days, Cowen is back on set, immersed in another story, another character, another world. And that’s just how she likes it. “I booked something very exciting,” she says. “The more I understand myself, the better I can understand the people I play.”

For a while, the 26-year-old actress was best known for playing fiery heroines in Young Adult fantasy: first as Dorcas in Chilling Adventures of Sabrina, then as Bloom in Netflix’s Fate: The Winx Saga, a cult-hit that still has fans campaigning for a third season. But in The Ritual, Cowen shifts gears. Based on the real-life case of Emma Schmidt, a woman subjected to a 23-day exorcism in the 1920s, the psychological horror film is a different kind of possession story — quieter, heavier, and far more unnerving.

Cowen plays Emma with a kind of internal intensity that’s hard to look away from. The film avoids exaggerated theatrics and cheap scares, instead focusing on building a steady, embodied fear that intensifies throughout its unfolding. “It wasn’t about playing ‘possessed’,” she says, “it was about stepping into the emotional reality of someone trapped in her own body and mind.” That emotional commitment is quickly becoming her signature.

Directed by David Midell and co-starring Al Pacino and Dan Stevens, the film places Cowen at the centre of an unnerving descent — one where faith, trauma, and fear all blur into one. It also gives her room to explore the blurred lines between trauma, faith, and the body — themes she doesn’t shy away from, on or off screen.

Off set, she’s been reading self-help books, listening to country music, and booking a new (still under-wraps) project. But Cowen’s clarity about what she wants — and doesn’t — from her roles feels refreshing. She’s following her instincts. “If a story hits me in the gut, I know I’m supposed to be part of it,” she says. “If it scares me a little, that’s usually a good sign.”

Below, Cowen talks to Schön! about The Ritual, what it’s like to act opposite legends, and why fear isn’t always the enemy.

set. Bally
shoes. Jimmy Choo
jewellery. Alexis Bittar
opposite
sweater. Balmain
underwear. Contessa Mills
shoes. Malone Souliers
tights. Commando

You’ve played everything from a fire fairy in Fate: The Winx Saga to a possessed young woman in The Ritual. Do you actively seek out roles that push you into new genres, or is it more about instinct when a script lands?

It’s definitely more about instinct. If a character or story hits me in the gut, I know I’m supposed to be part of it. I’m not someone who tries to “collect genres”, instead I chase characters that challenge me or make me feel something unexpected. If it scares me a little, that’s usually a good sign.

Speaking of Fate, fans are still campaigning for a third season. What did playing Bloom teach you that you carried into The Ritual, if anything?

Bloom taught me a lot about emotional intensity and what it feels like to play someone who leads with her heart, even when it gets messy. With Emma in The Ritual, that emotional core is still there, but it’s internalised in a way that’s quieter and heavier. Both characters are trying to survive something they don’t fully understand, which gave me a really personal through-line to work with.

Emma Schmidt isn’t just a character; she’s based on a real woman who underwent a 23-day exorcism. Did the weight of that history change the way you approached the role?

Definitely. Knowing she was real made everything feel more personal. You don’t want to sensationalise someone’s suffering; you want to honour it. It wasn’t about playing “possessed,” it was about stepping into the emotional reality of someone trapped in her own body and mind, fighting to be heard.

What kind of research did you do to understand Emma’s psychological and spiritual state — did you focus more on historical accuracy, or emotional truth?

I did a bit of both. I read about the real case, the time period, and how the Church handled these situations but what mattered most to me was the emotional truth. I wanted to understand what it would feel like to be isolated in that way, to not be trusted, and to lose control of your own body. That emotional core is what guided me more than anything.

A role like this can be incredibly taxing. How did you protect your mental space during such an emotionally intense shoot?

Boundaries were huge. I gave everything during the scenes, but after we wrapped each day, I had to find little ways to come back to myself. Journaling, going outside, checking in with friends and just reminding myself that I’m okay, and that the story is separate from me, all really helped. Having that separation was very important to me.

set. Dolce & Gabbana
jewellery. Anayah
opposite
dress. Blumarine
jewellery. Alexis Bittar

You’re acting opposite Al Pacino and Dan Stevens — two actors with very different energies. What was it like sharing scenes with them?

I feel really lucky. They’re both incredibly kind, talented, and generous. Al brings such care and depth to every moment, and Dan is sharp, grounded, and so present. They both made me feel incredibly supported and gave me the space to fully show up. It wasn’t intimidating, it was inspiring.

There’s a physicality to Emma’s transformation that feels almost dance-like. Did you work with a movement coach, or was it instinctive?

I didn’t have a coach, but I did work really closely with our director, David Midell. We spent time blocking everything in detail and finding those physical nuances together. Once we had the structure, the movement started to feel more instinctual. It was physically demanding, but also really freeing once it clicked.

The film leaves a lot open to interpretation: spiritual possession versus psychological breakdown. Where do you personally land on that spectrum?

I don’t think it’s either/or. There’s a part of me that sees Emma’s experience through the lens of trauma, in how it lives in the body and fragments a person. But I also believe in things we can’t always explain. I think her story lives somewhere in that grey area, and that’s part of what makes it so haunting.

You’ve spoken in the past about the importance of mental health and not forcing things. Did any of that come into play while preparing for or recovering from this role?

Yeah, absolutely. I’ve learned that pushing through something emotional doesn’t mean you’re stronger. It usually means you’re ignoring what you actually need. I let myself pause when I needed to, and I tried not to bring Emma home with me at the end of each day. It’s still something I’m learning how to do, honestly, but I think it made the performance more grounded in the long run.

Did The Ritual change the way you think about faith or fear?

It made me sit with both a little more honestly. Faith isn’t always peaceful, sometimes it’s full of doubt and desperation. And fear doesn’t always mean you’re weak. Sometimes, it just means you’re stepping into something unknown. I definitely left the project with more questions than answers, but good ones.

What do you hope audiences are left thinking about after watching Emma’s story unfold?

I hope it leaves people thinking about how we treat others who are suffering, especially those who can’t articulate or advocate for themselves clearly. I also hope it opens up conversations about faith, trauma, and how often those two things intersect. And if nothing else, I hope it encourages a little more empathy.

Anything exciting coming up soon? What would be your ideal new role and why?

There’s something I’m working on now that I’m really excited about, but I can’t share too much for the time being. As for a dream role, I’d love to do something unexpected like maybe a dark comedy or a grounded crime drama. Overall, I just want it to be something character-driven where I can disappear into a totally different world.

sweater. Balmain

The Ritual is now screening in cinemas and available on digital/VOD.

photography. Meg Young
fashion. Rum Brady
talent. Abigail Cowen
casting. Alabama Blonde
hair. Mashal Afzalzada @ The Wall Group using Oribe, Dyson Beauty + Luxy Hair
make up. Jen Tioseco @ A-Frame Agency using Tom Ford Beauty
creative production. Clara La Rosa
interview. Gennaro Costanzo

Halfway between Hanoi and Ho Chi Minh lies Da Nang, an energetic city and tourist mecca with miles of beautiful beaches. On 29^th June, however, something other than sun, sea and sand was drawing in the crowds: something big, loud and very, very green…

Enter Sprite Beach Fest. As part of its summer 2025 campaign ‘Turn Up Refreshment’, Sprite has launched a series of free music festivals on shorelines around the globe. First up was The Philippines, then Vietnam, with further events in Brazil and Mexico potentially in the pipeline.

The idea behind the campaign is that an ice-cold sprite can save your summer, coming to the rescue in the stickiest and most sweltering of situations. “This year, Sprite’s refreshment is not just about the drink,” Global VP Oana Vlad elaborates, “but also experiences that provide ultimate refreshment, celebrating the fusion of music, artists and festivals to help everyone make the most of the summer heat and enjoy every moment.”

In Da Nang, this message was supersized with a towering thermometer, enormous inflatable water slide and giant jets spraying the 90,000-strong audience at surprise intervals. No doubt much of the crowd, which spread from the stage onto the streets, was also there for the acts, which ranged from rising stars from the Vietnamese Rap, Hip Hop and DJ scene, such as HURRYKNG, Low G, JSOL and RHYDER to established headliner Du’o’ng Domic.

“What you see here is very localised,” explains Vlad. “How the festival came to life and the experiences we’ve created were done through local teams that really understand the culture here. Four of the artists are up-and-coming, which is really important to Sprite as a platform for rising subcultures and genres, and then, at the end, a headliner that’s more mass in the pop space. The balance that we always want to strike is being that consistent, iconic, global brand but, at the same time, having those deep roots in the community.”

Mercury rising isn’t the only form of heat the soft drink brand is taking on this summer. “If you look at culture specifically through how it’s evolved on social media, you see spicy food and street food becoming huge in the last few years, through spice challenges and the popularity of spicy noodles, like what we’re having here, but also around the world,” says Vlad. “Almost 50% of Gen Z have at least one spicy meal a week. It’s about the thrill and discovery of new experiences. When you pair the lemon-lime taste and carbonation of Sprite with spicy food, it’s the perfect combination. It’s the perfect complement from a scientific point of view as well,” Vlad continues. “It’s that rising part in culture that our fans – the people we engage with – already love, and it’s the perfect role for our product.”

Cue the ‘Hurts Real Good with Sprite’ campaign, which includes late-night pop-up events (from 1 to 3 am), partnerships with brands like Takis and Buldak Fried Noodles, and the ‘Hot to K-Pop’ content with South Korean artist and brand ambassador Karina of K-POP group aespa. 

And, finally, Sprite has teamed up once again with streetwear brand SNIPES, today launching a fresh collaboration with an early 2000s aesthetic. The 14-piece capsule collection features graphic t-shirts, colour-blocked tracksuits, jerseys and denim. Of course, bright green features prominently, but there are also pieces in baby blue, dark purple and a Brazilian-inspired green and yellow colourway. 

Find the capsule collection at select SNIPES stores across Europe and online here. 

Read more about Sprite here.

words. Huma Humayun

images. courtesy of Sprite

jacket + skirt. Huishan Zhang
jewellery. Lady Grey

For many, ‘Lilo & Stitch’ is more than a movie, it’s a cultural touchstone. It’s a story about belonging, loss, and unconditional love for family, wrapped in the spirit of Hawaii. It is arguably one of the most successful and celebrated Disney animated films of all time, so when the live-action remake was announced, expectations were high. Enter Sydney Agudong, the Kauai-born actor who took on the role of Nani, Lilo’s older sister and guardian, with a depth that’s felt throughout the entirety of the film. 

What makes Sydney’s version of Nani so resonant isn’t just her acting chops, but the profound personal connection she brings to the character. Raised in Hawaii, ‘Lilo & Stitch’ was the first film she ever fell in love with. As a toddler, she dressed up as Lilo for a local pageant, unknowingly planting the seed for a full-circle moment later. Her early love for storytelling and performing has followed her from small stages to the big screen, where her performance is now showcasing what sisterhood, love and Ohana look like on and off screen. 

Now with the film out in the world and the recent announcement that Lilo & Stitch 2 is currently underway, Sydney’s full-circle moment is resonating far beyond the islands. After the film’s release, Schön! sat down with Sydney to chat about sisterhood, her favourite Disney songs, and her special connection to ‘Lilo and Stitch’. 

First of all, congratulations on the massive success ‘Lilo and Stitch’ has been – holding the number one spot for the third week in a row…

It still is?! I actually didn’t know that, that’s so cool!

With filming having wrapped over a year ago, how does it feel to see the success now that it’s been out for a few weeks?

It feels very validating not just for myself and all the creatives – Maia, Dean, and everybody surrounding the project – but it’s also very validating to see so much support in Hawaii specifically. It’s been incredible. Knowing that I believed in Nani in a way that was kind of refreshing, and we were able to go deeper into Nani’s character because it wasn’t just an exact animation to live action. They wanted to take a little more of a spin on it and give way to Nani’s arc and the parenthood aspect of things, she was a caretaker, and I grasped onto that.

Seeing the amount of comments, reviews, and people coming up to me and DMing me and saying, “I don’t think you understand how much this means to me / I felt like I saw myself as a mom.” I’m getting moms coming up to me, and that’s been so huge because my parents have sacrificed so much for me. All of this just makes me feel like everything was worth it, beyond the fact that this is a dream role. 

Before we get into Stitch, I want to go back a little bit. What was it like growing up in Hawaii? At what point did you decide you wanted to pursue acting?

The first time I was ever on stage was for a ‘healthy baby contest’ and it was at the Kauai County Fair on a little small island and I was like one and a half years old. I had just watched ‘Lilo and Stitch’ for the first time, so this is just a huge full-circle moment for me – that was the first time I had ever been on stage. I was in love with Lilo and I dressed up as her on stage, and she gave me this confidence.

There’s a picture of me from that night, kind of almost letting go of my mom’s hand, and it was the first time that my mom had ever realized that I wasn’t afraid of being on stage, and I genuinely loved it. I didn’t really realize what was going on, but there was some sort of connection there. Growing up we did pageants like that one and we also did sports during the day, and so there was always some type of stage. I think I was around 8 or 10 years old when I started pursuing acting and theatre, and I brought my sister along with that too. 

cardigan. Dodiee
opposite
blazer + shirt. Anteprima
shoes. Dries Van Noten
jewellery. Christina Caruso

Do you remember your first ever audition? 

Yeah, I do! I was in a dinner theatre show on Kauai as well, and it was for South Pacific. I was 7 years old when I first auditioned for it, and I think I ended up doing it when I was 8. I was one of the little French daughters. I had to go and figure out French, and I sang a song, and I would do that every Wednesday night. It was my first paid gig, and it was so much fun. I was surrounded by a bunch of people whom I looked up to, and they took me in like a little sister. I remember each night I would go return my mic and then look around at all the tables to see if there were any untouched desserts [laughs].

Oh my gosh, that’s adorable, and in a way kind of reminds me a bit of Lilo!

Oh my gosh, totally. You’re so right! 

I read in another interview that Lilo and Stitch was the first film you ever fell in love with– what is your earliest memory of the film?

There are a few, but the one that always comes back to me for some reason is the moment that Lilo is leaving and waiting for Nani, and then Myrtle and her friends come up and make fun of her because they all of their dolls, and Lilo has Scrump and she loves it. She realizes Nani isn’t coming, and the next thing you know, the sequence is Nani running towards and realizes Lilo isn’t at school, and she ends up kicking Cobra Bubbles’ car.

I feel like that was the moment that I realized I really understood Lilo and I understood Lilo and Nani’s relationship then. I think, especially with the Myrtle moment, it was a very big moment for me in school when you get bullied, and feel that the things that you loved aren’t okay. Now I have my own Scrump that my sister made for me [laughs].

Can you talk to me about what you felt the moment you learned you’d be playing Nani in the live-action? 

I say this in other interviews, but I can’t come up with any other word other than surreal, and eternally grateful. It’s one of those things where you count your blessings. It’s such a full circle moment for me because I wanted to quit acting right before, and I got this audition in November of 2022, which is around my birthday. I was in a low place at the time and feeling lost. I had just gotten so many rejections, and then this came along and I just laughed, because I thought there was no way. It was just funny, the thought that this would be the audition that I would turn down and quit acting. 

It was daunting. It’s such a huge role in a huge beloved movie, and I didn’t want to do it a disservice. I think the only thing that made me turn around and want to pursue the audition was the fact that I had been Lilo, and I understood that. I saw Lilo in my younger sister, and when I read the breakdown for Nani, I connected to it in a way that I couldn’t explain. I realized that she loved the same way that I did, and she wasn’t perfect. She needs things to get done in a certain way, but she does it with the utmost love and strength, and she’s so fearless. Those were the things that I’ve always strived to be as a sister, and I just wanted to do this audition for me. I didn’t expect to get anything out of it. I didn’t expect to get a callback, nothing. 

coat + shirt. N°21
opposite
dress. Altuzarra
shoes. Y-3 Adidas

Wait – sorry to derail the conversation for a minute, but you mentioned your birthday is in November – are you a Scorpio?

Yes!!! 

I’m also a Scorpio!

Oh my gosh, I love that!

It’s funny because it’s obvious that Nani has a lot more depth in the live-action, but I was watching the film and I thought to myself at one point “Nani must be a Scorpio.”

Oh my gosh, I LOVE THAT! That’s so cool, wow. I mean, you saw something, right?

We know! Scorpios have a hard exterior but we’re so soft and emotional. 

Totally, and there’s so much passion there and strength. They’re misunderstood, and sometimes they can be quiet, but at the same time, we want to share it. That’s so cool. I don’t think I ever thought about that with Nani, but I totally agree. 

‘Lilo and Stitch’ is arguably one of the most iconic and successful Disney animated films of all time. Did you feel a lot of pressure taking on such an iconic character, especially since the film means a lot to you personally?

A lot of when I was filming felt like ‘art imitating life, life imitating art.’ And that was going through my head the entire time because I think that, had I not had the experience I had before filming, I wouldn’t be here. Or I wouldn’t have been able to get the roles that I have gotten, including this role. During the time that I was filming, there was a massive load of pressure, for sure. It was one of those things that just made me a better person, and it made me a better actor.

I think the reason I was able to overcome that was from the support that I had on set and off set – I was at home, in Hawaii. All of my fears were stemming from my childhood and being bullied, or the internet. As soon as I let go of that and looked around, I realized I was home and had everything that I needed. I ran with that. And Nani taught me a lot too, and that was a really big thing. I think just being able to pour myself into the relationship itself and hang onto my relationship with my sister Siena throughout the whole film. To be able to focus her character on her relationship with Lilo, and the relationship that Maia and I created is its sister bond that I will forever hold, it made everything just blissful.  

Disney made the right choice casting you and Maia together– your chemistry is undeniable. 

I know, I am so grateful. Thank you. 

Do you remember the first time you met her? Did the two of you connect right away?

Yeah, we did! I remember the first time I saw her I thought to myself, “Oh my gosh, she looks just like her [Lilo].” Recently, our chemistry read photo resurfaced, and I had no idea how young she was! I always said I was so afraid to see her again because a lot of time had passed, and I thought I was going to cry or vomit [laughs]. I was just not ready to see her so grown up. But she’s still got the same type of spirit and energy and love and joy in her heart, it’s just been so nice to see her again.

I remember when we walked into the chemistry read together, I think one of the first things I noticed was that she was just so goofy and confident. I remember her leading her mom around, she was the one that was owning the show. Dean and I were in the chemistry read, and Dean said, “Okay we’re going to do a little bit of Improv,” and she said, “What’s that?” Dean said, “It’s like make believe, and we’re going to create this experience together and you’re going to play with Stitch, and this is your sister.” She was endless in her imagination. There was never a moment where she said “Okay that’s all I have…” No. That, for a kid, is incredible. That taught me a lot, I was so immediately blown away by her. And then we’re in the green room, and she gets bored and asks her mom to turn on her Tahitian music and starts dancing Hula in the green room [laughs]. I was like, “This girl is the best, I love her.” And her hips do not lie [laughs]. She’s insane. 

dress. Dolce & Gabbana
jewellery. Lady Grey
opposite
blazer, shirt + shoes. Ralph Lauren
denim shirt. Jean Paul Gaultier
shorts. AKNVAS
jewellery. Ritique Jewelry

You have grown up with a younger sister, and this story means so much to those of us who have grown up with such a special bond with our sisters. What was it like bringing this story to life in a new way with Maia, and what do you hope people take away from this film?

I hope they see our real relationship on screen. I hope that they can see that, while I know it’s a movie, all of us on and off screen who were a part of this movie, not just Maia and I, really created a true family in the process. I think it shows. I hope people take away the fact that family is not perfect and it doesn’t have to look a specific way, and that you feel like you belong somewhere.

I think it shows in the arc that Maia and I have with Nani and Lilo – they aren’t perfect, but I hope that people find the little moments where it was just Sydney and Maia on screen and it was captured. I hope that people are able to see themselves in that, and maybe appreciate their family a little bit more and realize that nobody is perfect and that is okay. 

The hammock scene where you sing to Lilo was so beautiful. I know you’re a musical person as well, and Disney has a way at pulling on heartstrings through music. Other than ‘Lilo and Stitch’, what are some of your favourite Disney songs or soundtracks? 

Oh my gosh! Before I had gone through everything and before I had done any of the interviews, I had been saying ‘Mulan’ a lot. That is still true to this day. The song where she’s learning with bamboo – and then “Reflection” was a huge one for me growing up. I didn’t know who I was, and I still don’t, hence the whole Jane Doe thing with my music. I think there’s something to be said about opening up the truth in that sort of way and being authentic in that sort of fear. I think there are colours on the other side of the grey. Now, I think it was Courtney who reminded me of ‘Tangled’, it was “When Will My Life Begin,” so good! So bittersweet, so hopeful, pulling at your heartstring type of song. And Mandy Moore is incredible!

I know you have some other projects in the works, do you hope to take on more acting roles where you can sing as well?

Funny you say that, Yes! I just recently finished a project called “Ripple,” I was lucky enough to do it with some of the most beautiful and talented souls. We just finished this last fall/winter in Toronto, and it’s basically about these four strangers who live in New York City, and they all have their own struggles. The log line is basically how everyone is intertwined, and how you can create a ripple effect on someone else without even knowing that you’re doing it.

My character is Aria, she is a struggling twenty-something-year-old who is trying to pursue music, and has the utmost social anxiety and impostor syndrome. She is very self-sabotaging and it cripples her. At the same time, she has found her love for wanting to feel like she has a purpose in the world and feeling like she’s connected, and she thinks that she wants to be a mom. It’s a wonderful series that I hope we get to see soon on screen. Frankie Faison is in it. Ian Harding from ‘Pretty Little Liars’, Julia Chan – they play the other 3 of the core 4. It’s just a beautiful story of interconnectedness and feeling like you’re a piece of a puzzle, but still a big piece, and at the end of the day, you matter. I think it’s a needed series, and I got to bring in some of my original songs, and that’s been insane. 

What are you most looking forward to this year and beyond?

One of the biggest things that this project has brought me is confidence, becoming a better person and having a wider scope on life. Feeling like I can take back my control and my place of belonging. I am excited to see where this sense of bliss and peace takes me. I feel like a new person in the way of re-gauging my ability to achieve, and I am excited to put fear down. I am excited to work on music, and put music out, which has been a huge dormant thing for years. I feel like I have opened my eyes up again, and I am excited to take gratitude with me everywhere I go, really, and be home while I’m doing it, which is kinda cool.

dress. MMK by Michael Kors
shoes. Sergio Rossi
jewellery. Ritique Jewelry
opposite
top. Versace
jewellery. Ritique Jewelry

‘Lilo and Stitch’ is out now.

photography. Andrew Thompson
fashion. Tatiana Cinquino
talent. Sydney Agudong
casting. Alabama Blonde
hair. Anthony Campbell @ A-frame Agency
make up. Camille Thompson @ The Wall Group
production. Clara La Rosa
video. Andrew Thompson
fashion assistant. Camilla Lesyk
studio. Meadow Studio
interview. Rachel Martin