the language of a wardrobe | costume designer bina daigeler on dressing rosebush pruning

dress. Pipen Colorena
bracelet. Tame New York

She’s an icon. She’s a legend. And she is the moment. Stepping into the role of the assistant to one of the most famous film assistants in cinema is no small order, but Helen J. Shen’s Jin eats up every single scene she’s in. From the second she enters the frame, she shines bright, keeping up effortlessly with the likes of Anne Hathaway, Meryl Streep, Emily Blunt, and Stanley Tucci. You’d never know that this was her first outing on a silver screen.

It’s no secret that ‘The Devil Wears Prada,’ is one of the most adored pieces of media in recent times. Twenty years have passed since the first film, and people still quote it daily, use sounds from the original film on TikTok, and rewatch it religiously. People craved more of the glamorous world of ‘Runway,’ and of Andy Sachs and Miranda Priestly. It’s a daunting task to add on to an original that many have deemed perfect. But over the last two decades, the world has changed, and while the idea of a sequel made some weary, it couldn’t have come at a better time.

As Shen speaks with Schön!, she makes it clear that to revisit something so beloved, it had to have something new to say — and it did. The film did not pull its punches about the current state of media. It gave us a look through the lens, the good, the bad, and the ugly. Shen is proud of that. While the experience may have been a whirlwind, she didn’t take a moment of it for granted — soaking in everything she could like a sponge. She took advantage of the titans she was working alongside, making time to pick their brains. It isn’t every day you get to work with your idols, and she made the whole thing look easy.

Chatting with Schön!, Helen J. Shen discusses finding out she got the role, what it was like to work on a film set for the first time, how her and Jin’s journeys paralleled each other, and more.

dress. Emma Joan Foley
opposite
top + skirt. Bevza

Congratulations on your on-screen debut! I got to watch the film yesterday afternoon in a packed crowd, and it was incredible — such a true theatre-going experience. Jin is the MVP, in my opinion, for choosing the absolute best time to go get froyo. How nobody noticed the phone under the chair, we may never know. When you got the call that you’d been cast in the film, what was going through your head? And who did you tell first?

Oh my god, it was so exciting. I was doing a Broadway show at the time, so I already had so many other things going on in my head. As far as auditions and callbacks go, I felt good about this one in the moment, but with that kind of thing, you can’t really believe it’s happening until the offer actually comes in.

When I finally heard, I was at the show, and David Frankel, the director, had come to see it. I remember someone saying, “Helen, this director’s here to see you. He says he really wants to see you specifically. We don’t know who he is.” And I was like, “Oh, that’s David!” He wanted to inconspicuously tell me I got the job, and I think he may have been a little too subtle because I didn’t get the hint until he explicitly said, “No, Helen, you actually got this part.” [Laughs]

It was so surreal. I grew up with the first movie. There are so many iconic scenes, monologues, and line readings from it. It’s such a wonderful rewatch, and I feel like every chapter of my adulthood — especially my own experience with ambition and learning that it’s not a negative word — is reflected in that film. It’s just a beautiful world to be a part of, and it felt surreal knowing I was going to step into it. I don’t think it fully hit me until we started shooting in the offices because they built the entire Runway office set. Suddenly, I felt like an assistant going to work every day — except the person I happened to be assisting was Anne Hathaway.

The subtlest of brags.

Every day on set was such a joy. With my character, I got to do so many fun, bright, vibrant things, and I also had the opportunity to observe Meryl’s (Streep) process up close, as well as Anne’s. They led the project with such grace and poise. It felt like they knew these characters instinctively, even after all this time. And when they first played them, they had no idea the impact the film would still have 20 years later — that it would be the reason all of us were sitting in the same room together. That felt really special.

I told my parents first, and my mom was over the moon that I was going to be in a movie with Stanley Tucci, Meryl Streep, and Anne Hathaway, of course. She’d done some theatre growing up in the same area I did, and I grew up revering Anne Hathaway as someone who really did it — someone who was passionate about storytelling and truly made it. She was such a beacon for me growing up.

dress. Pipen Colorena
bracelets. Tame New York
opposite
jacket. Ayama Studio
skirt. Curiel Milano

That’s such a full-circle moment. You touched on this in a previous interview, too, saying you had to pinch yourself every single day on set. And honestly, the gasp Jin lets out when Miranda walks into Andy’s office? I felt like that was maybe more you than Jin — or maybe it was both. [Laughs] Walk me through Jin’s mindset while working at Runway and under Andy and Miranda. How much did that experience parallel your own experience acting opposite Anne Hathaway and Meryl Streep?

It really, really, really paralleled it. Think about it from my vantage point: I’m standing in this corner, and suddenly, actual Meryl Streep walks in. I’m already gagged no matter what. [Laughs] Of course, in the scene, Jin is affected by Miranda in that exact way. When Miranda enters a room, she parts the seas — everyone immediately snaps into their best behaviour. And honestly, that’s exactly the feeling you get on set when Meryl Streep walks in.

So much of it wasn’t acting as much as it was genuinely reacting to my surroundings. And what’s interesting is that Annie really was so excited to work with me and be part of this team together. In that scene where Jin gasps, Andy is trying to figure out what Jin thinks because she wants Jin to feel like part of this new fabric of Runway. That’s not always the dynamic you expect with someone you work for. Usually, there’s a hierarchy. And here you have Annie, this incredibly seasoned actor, with a million other things to think about besides whether or not you feel comfortable. And yet she made me feel the most comfortable.

I think that’s such a testament to how she works and how she chooses to show up on set, which I really respected. I was soaking everything up and trying to be a sponge, and honestly, that’s Jin’s whole arc too — being a sponge, while also finding her own stamp and leaving her own mark.

And by the end of the film, you see that it works out in her favour because Jin gets promoted, which made me so happy. You also made your Broadway debut in 2024 in ‘Maybe Happy Ending.’ How did working on stage prepare you for the screen?

Theatre really prepared me to be thrown into all kinds of situations. Onstage, there’s another scene partner you’re constantly working with, and that’s the audience. You have to stay reactive and on your feet all the time. What didn’t dawn on me right away with film was that what you’re doing is immortalized. I can definitely get in my own head sometimes and accidentally get in my own way. So I was really focused on staying present and being there for my scene partner because those fundamentals of acting are universal.

That said, there’s definitely a different style of acting for the camera. One of my very first scenes was in the cafeteria with Stanley and Anne whispering to each other about what to do. I had to enter from farther away, and I didn’t realize there’s basically no projection in film acting. They were genuinely whispering. Which, of course, they should be. [Laughs] But I remember not being able to hear my cue and thinking, “Okay, I really need to be on my A-game and absorb as much as I can.” At the end of the day, all I could do was my best. But I was genuinely shocked by how quiet the whispering was. [Laughs]

It eventually became more of a visual cue for me, but there were so many things I didn’t know yet. I’m so grateful to David and Aline (Brosh McKenna). Everyone was incredibly welcoming and excited to have me there. I always felt very taken care of, and even when I didn’t know something, I always felt comfortable enough to ask.

top + skirt. Bevza

It sounds like such a collaborative and safe environment. Going back for a second to what you said about not realizing your work was going to be immortalized — at the world premiere, you got to watch the film for the first time. What was it like seeing yourself on that big screen?

It was amazing. I got all dressed up, and the red carpet was beautiful. I was already on such a high just being there, especially because it was in my hometown. I literally live around the corner. This is my neighborhood. It was such a crazy, glorious night. Actually seeing myself on the screen was surreal. I was sitting in front of Lucy Liu, who is fantastic in the movie. She’s gorgeous, effortless, effervescent. Her smile is so luminous.

Anyway, I could talk forever about Lucy Liu. She’s the queen. She was sitting right behind me, and every time my face came up on screen, she would scratch my shoulders. I’ve looked up to her since I was a little girl, so it was another one of those pinch-me moments where I thought, “I’m in the same room as Lucy Liu, and she’s acknowledging my work.” She’s so lovely. Some parts of that evening were honestly overwhelming because people were being so kind. I think it’s also important to let yourself accept positive affirmation from people who genuinely want to give it to you. There’s no reason to pick it apart and think, “Well, they’re only saying this because of this,” or, “They don’t really mean it.” Let them fill up your cup and pour some positivity into you. It was really wonderful to sit and be proud of myself in that moment.

It’s such a different feeling from theatre because, onstage, you get that affirmation in real time. You know when a joke lands, you know when the audience is with you, and then there’s the curtain call at the end where you take your bow. With film, it feels like one giant bow. It’s opening night and closing night all wrapped into one experience. All of that excitement and energy gets funneled into a single moment.

You must’ve been sitting there for 20 minutes after the movie ended, just basking in it.

Caleb Heron — who became a really good friend throughout this whole process and is genuinely such a lovely person — and I got to celebrate the fact that we were part of this massive movie alongside these titans. And we held our own.

Yes, you absolutely did! The film feels like such a love letter to the original. I lost count of how many references and callbacks there were. Do you remember the first time you watched the original and realized it was something special?

I don’t remember the very first time I watched it, but that opening montage is completely seared into my brain. The second “Suddenly I See” starts, and you hear those first little chords, you instantly know where you are. You’re in New York. All these girls are getting ready, and then you have Andy getting ready in her own way. That kind of filmmaking is so delicious to me. That whole era of movies feels delicious, honestly. I can’t remember the first viewing specifically — I just remember revisiting it over and over again.

jacket. Tang Chi Couture
opposite
jacket + dress. Silk Laundry
shoes. Scarosso

Do you have a favourite scene or line delivery?

There are so many. I think “Gird your loins!” is such a good one as a call to the office. Or, “Smack your little head on the pavement.” Anytime Emily says anything, it’s so delicious. The way she delivers every line is so scathing. It’s so devastating. In the second movie, one of my favourite moments is when Emily is pointing Andy toward the subway and making that mock sympathetic face. Obviously, there’s also the insult about Andy’s eyebrows.  Even when she was talking to Benji (Justin Theroux), if he actually listened to what she was saying — “Oh, there’s so much ear hair. You could use this as a lawnmower!”

It just goes to show the type of person Benji is. In one ear, out the other. Of all the fits Jin wore, which one was your favourite? Was there a piece you really wanted to snag from set? Please remember, this is a safe space.

[Laughter] I really wanted the (Jean Paul) Gaultier dress, for sure. What’s interesting is that on the hanger, it looked like a normal black pinstripe dress. It didn’t have the shape it had once I put it on. But as soon as you cinched the waist and saw the shoulders, it became so fabulous. It was such a great journey for Jin. Throughout the whole movie, she’s always going to march to the beat of her own drum. She’s always going to pick pieces that feel thrifty and vibrant, and colours that maybe someone working at Runway wouldn’t normally wear. Nothing about her style is very muted.

That was so exciting to think about — this young person at the start of her career, interning at Runway, while also deciding, “I want to follow my own ambition, and I don’t want to change myself in any way to do that.” Honestly, I found her journey really inspiring. You can see that reflected in her fashion, too. She’s still thrifty, still trying to get a good deal, still trying not to sell her proverbial soul. But she also wants to glow up a little bit for her promotion.

top + trousers. Giada
hat. Pipen Colorena

As she should! My personal headcanon is that Jin keeps climbing the ladder at Runway and eventually ends up running the whole place. What do you think Runway under Jin would look like?

I think there would be more room for editorial shoots and thoughtful art pieces that come from engaging with the world in a meaningful way. I imagine she’d follow in Andy’s footsteps a little bit — wanting to do real journalism and using fashion, art, and design as vehicles to say something important about the world.

Absolutely. I can totally see that. I also love how heavily the film centers on the current state of journalism, media, and art. As an artist yourself, can you talk about why this story feels so important right now while still remaining a faithful sequel to the original?

That’s such a good question. Everyone involved knew how much the first movie meant to people, which is why there was even a market for a sequel in the first place. Having David Frankel back at the helm again, along with Aline and the core four cast members, says a lot. These are people who experienced the enormous impact of the first film firsthand, and there’s a reason they all came back. That’s such a huge undertaking.

I think Aline did an amazing job writing the “why” behind a “why now” sequel. The world is changing so much. We’re constantly seeing big corporations and conglomerates swallow up smaller independent publications. Everything they’re talking about in the movie is happening in real time. With the rise of technology and AI and all of these looming changes, I think what Aline really wanted to show is that this shift is already happening. She approaches it in such a charming, humorous, and lighthearted way that you can’t help but root for Andy and root for thoughtful, meaningful storytelling.

I think that’s why the film is resonating with people. I kept thinking while I was watching it, “This movie really has something to say.” Miranda didn’t invent the system. Emily didn’t invent the system. And yet all of these characters are trying to operate within it while still maintaining some sense of dignity and identity. The same goes for Nigel. Watching all of them navigate a rapidly changing world while trying to hold onto their humanity is incredibly moving.

Agreed. One of the most impactful scenes for me is at the beginning, when Andy is at that journalism dinner accepting an award, only to find out she and her colleagues have just been fired. Just like that. It feels so reflective of the world we’re living in, where media is constantly changing, and everyone is trying to figure out how to operate within this evolving system.

As artists, we’re always pulling inspiration from somewhere. Where do you find inspiration in your day-to-day life? I live in New York City. [Laughs] Honestly, all I have to do is walk outside, go to the park, or wander into a neighbourhood I’ve never been to before. I’ll never fully scratch the surface of New York City for as long as I live there. It’s such an endless city of art and humanity.

Right now, though, I’m especially inspired by storytellers who are taking huge swings — people who are willing to run headfirst into a wall creatively and commit fully to their vision without trying to water it down or make it more palatable.

I’m also inspired by collaborating with artists working in mediums I’m not familiar with. Trying something new and being kind of bad at it is actually really humbling. As artists, we spend so much time thinking about mastering our craft and putting in the “10,000 hours.” But honestly, being an artist is a craft. Learning itself is the craft. So part of my practice right now is allowing myself to try things I’ve never done before without judging myself in the process.

jacket. Ayama Studio skirt. Curiel Milano shoes. Stuart Weitzman opposite dress. Emma Joan Fole

What is something new you’ve tried lately? 

I’ve been trying to write some music, actually. Whether or not it sees the light of day is another story. But right now, the process is bringing me a lot of joy. Simone Ashley, my co-star in the movie, also released an EP recently, and I respect and watch my fellow artists. Just because I’m revered for doing this one thing does not mean that I can’t try my hand in other mediums, just see what comes of it. 

I absolutely love that answer. And I’ll be looking out for new music in future. I was reading another interview that you started learning how to play the piano at the age of 5. You said that it taught you discipline and dedication. And I think in that same interview, you stated that it took you three years to learn a piece of music. As a fellow musician, what was that piece?

I did a Chopin piano concerto.

Oh, good God.

Oh, yeah. The three years it took were different chunks. I probably learned the actual piece in, I don’t know, maybe six months.

It’s the perfecting it, right? That’s what took the time?

Exactly. The honing of it. It’s the working with an orchestra, working with other people. And just like I’ll never know New York City, I could never get a piece perfect. You can get the notes perfect. But there’s always something deeper to mine. I think that really taught me that even when you think you’ve made it to the end of a thing, there’s always more to learn from it.

I never got to fulfill my final dream of doing the Tchaikovsky piano concerto. So that one’s still a white whale for me. And I’ll get back to you on that. I’ll get working on that right now. Today. Check back in with me in three years.

I’ll see you in 2030 [laughs.] Circling back to the film, what has been the wildest thing about this whole experience for you? What broke your brain?

Oh, God, so many things. The global aspect of it was really quite crazy. My grandma is still in Shanghai right now. And she got to see the movie. She did not get to see “Maybe Happy Ending’ in person. But she did get to see a bootleg that I can neither confirm nor deny is true. But she’s been following my career in another part of the world and watched me grow up. And it has been such a huge part of my life. But she got to go to the movie theatre and see my movie. And that is so special to me. That broke my brain.

Lastly, what are you most looking forward to once the madness finally subsides?

I’m really excited to be on a plane and watch The Devil Wears Prada 2. I say this with all of the compliments and all the reverence in the world. I cannot wait to sit and watch this amazing plane movie on a plane. It’s been a figment of my imagination for so long, but watching it on a plane? That’s when this whole experience will finally feel real to me.

top. Giada
hat. Pipen Colorena

‘The Devil Wears Prada 2’ is in theatres now.

photography. Angela Kwon
fashion. Lizzy Rosenberg
talent. Helen J. Shen
casting. Emma Fleming
hair. Yu Nakata @ The South James Agency using Oribe
make up. Kimi Duncan @ Forward Artists using Summer Fridays
production. Clara La Rosa
set design. Lana Boy @ Art Department
photography assistant. Marcella Antiko, Danelle Gonzalez + David Woon
fashion assistant. Raymond Villela
studio. Rambow Studio
interview. Dana Reboe

Dancers at The Box really fit the vibe Richie Akiva’s The After

What happens after the Met Gala carpet clears? For more than a decade, Stephanie Gotch has helped shape the elusive world that begins once the event wraps. As the founder of culture-forward creative agency Partners & Associates, Gotch operates behind the scenes of some of fashion’s most exclusive late-night gatherings, orchestrating everything from guest lists and talent flow to press strategy and cultural positioning.

This year’s after-hours circuit once again reflected her signature approach to building what she calls “culturally precise rooms”: spaces where fashion, music, nightlife, sports, art, and celebrity intersect organically. The 2025 Met Gala after-party scene — anchored by names including Tyla, Doja Cat, Colman Domingo, and Edward Enninful — exemplified the kind of carefully curated cultural chemistry Gotch has spent years refining alongside nightlife impresario Richie Akiva.

Following the 2026 edition of the Met Gala, that vision continued with THE AFTER 2026, Akiva’s 12th annual Met Gala after-party at The Box, hosted by Kate Moss and Teyana Taylor. The packed downtown affair brought together an eclectic mix of Met Gala attendees and cultural figures, including Lila Moss, Lisa, Jennie, Central Cee, Ty Dolla Sign, Stefon Diggs, and designers Maxwell Osborne and Dao Yi Chow. Performances by Busta Rhymes and Leon Thomas, alongside DJ sets from Kaytranada, Diplo, and DJ Cruz, carried the party well past sunrise.

Below, Gotch reflects on the evolving culture of Met Gala after-parties, the art of curating exclusivity in the social-media era, and what still surprises her after ten years of building New York’s most coveted rooms.

Team member David Weinholdt was in charge of the media and bracing for the craziest door we have had yet!

Artist Alec Monopoly is always a fun surpise to run into

Kaytranada played a wild set for the packed crowd and stuck around to hear Diplo play afrer him

Evan Ross and Quincy Brown sitting at one of the main tables downstairs

After a decade helping shape Met Gala after-parties, what still surprises you about how these rooms come together behind the scenes? 

It’s complete chaos in the best possible way. There will always be a fun last-minute addition or request to join that we usually never expect, or a VIP with crew in tow who will text us at 4 a.m. that they are headed over! This really is the fun part of the night for the celebrities to really enjoy themselves post-gala. 

You describe these events as “culturally precise rooms.” What does that phrase mean to you when building a guest list?

There are very few nights on the social calendar that really embody a true mix of creatives and tastemakers from all fields – sports, fashion, music, art, film and now even tech. Most award shows and after parties are limited to their own spaces, whereas this party truly combines a unique mix of notables. We do our best every year to review who is attending the gala and include those OG nightlife guests who make NYC special. 

The man himself who has been making “The After” the party to be at every year – Richie Akiva. It’s crazy to think we have been working together for over 12 years now.

Anderson Paak arrives post Met Gala with friends in tow.

More scenes from The Box “The After” by Richie Akiva

Thanks, Matt Weinburger, for this fun photo of me wearing one of my favourite designers, Dilara Findikoglu.

How has the Met Gala after-party ecosystem changed from the early Rihanna-hosted years to today’s highly visible social-media era? 

Back when Rihanna hosted her Met Gala parties in the beginning, there was more privacy with social media and fewer after-parties to attend. There would be one main party that all the attendees would end up at without any entourage, so it really was one room of only talent. Over the years, there have been more branded events, but it’s really about curating the press in attendance and photography. While yes, now everyone has an iPhone, if the crowd is very A-list, no one is really taking too many photos, so it still stays pretty special and exclusive. 

What’s the balance between exclusivity and spontaneity when curating a room that includes artists, designers, athletes, and cultural figures all at once? 

What makes New York nightlife so special is the spontaneity. It’s so important to curate the list well in advance and prepare for the night, but it’s also about having the right door team who can pivot if someone shows up that might not be on the list but would make a great addition. I’ve been to parties in the past where very junior staff members are assigned to the door, and they accidentally don’t let in a big-name celebrity. The door staff is probably the most essential part of the night!

This year’s “The After” at The Box was hosted by Teyana Taylor and Kate Moss. How do you tailor the identity of a party around hosts with very different audiences and aesthetics? 

Richie Akiva’s extensive rolodex of celebrity friends always ensures an interesting mix when he selects hosts. The point is for the party to have differing audiences to capture that true NYC magic of a night. The clubs Up&Down and 1 OAK were special venues because you would be next to a pro skater, a Grammy Award artist, a supermodel, and Mary-Kate and Ashley Olsen. The unique mix of a party is what really makes it fun and memorable. 

Diplo got everyone dancing and Jennie showed up to support.

Maxwell Osborne of Public School – who dressed Wisdom Kaye for this years gala.

Thank you Dave for the photo! Dress by Dilara Findikoglu.

All star NBA player Jimmy Butler came out to support

The Box had some talented dancers surrounding the bar / interacting with guests which made for a fun night

Walk us through the timeline of your Met Gala night — when does your job actually begin, and at what point do you finally feel the event is successful? 

The day starts early at 8 a.m. and involves a lot of last-minute VIP confirmations, checking through the list with Richie and the team, as well as finalizing press attendance. We spend the morning making sure we didn’t miss any confirmations, and then we ensure VIPs have a good onsite contact. Richie is very hands-on with his invite list, as this party is his baby! We double-check our confirmed media list and send out confirmations with event details, including proposed arrival time/onsite contact. Then I put my phone on DND for a little bit to get dressed before the chaos begins. About an hour before opening, we make sure the door staff is in place, station the team inside to oversee both VIPs, sponsors and media as well as floaters to ensure we keep track of who attends, and finally a team member to assist the BFA photographer.

We also go through the table assignments to make sure the flow of who is sitting next to whom makes sense. Some VIPs will not want their photo taken at late-night events, which we always respect, so it’s also a balance of checking in with the attendees to make sure a photo is okay to take for press or having Richie ask, since most of his friends will always say yes to him. Having BFA is the best because they are very tapped into the culture, and their photographers and team are very professional but also friends with these guests. Our parties run very late as The After is the party most guests end up at 4 a.m., so there is always a big wave at the end of the night. I’m a big fan of an espresso martini for that reason! This year, our party went well past 6 a.m. as the sun was rising.

Once everyone leaves and the team is wrapped, I still have a few hours of work left before I can call it a night. I head back to the computer and work to approve the photos we will be sending to the press.  We also have to finalize the post-event press release and do our best to meet the 8 a.m. deadline that many outlets have for coverage! Once that’s done, I can finally take a nap, but I keep it brief as we are tasked to manage the press post-event to ensure they have what they need, so it’s very much a 24-hour marathon!

Looking back across the last decade of Met Gala after-parties, is there a specific moment, room, or interaction that captured exactly what you aim to create with these events? 

It’s really fun when you see such a cool mix of celebrities interacting together. One year, Lana Del Rey was alongside SZA and Lizzo with Baz Luhrmann dancing at a table at Casa Ciprani while Usher started a dance circle. This year, it was fun to see Diplo and Jennie hanging out together at the DJ booth at The Box as the burlesque dancers did their thing. I think most people assume all these notable people are friends, but this might be the first night they really get to hang out in person. That’s the exciting thing about these after parties, it’s truly a mix of all types of guests who get to really let loose and have a fun night post-gala. 

Snapshot of the crowd. I spy celebrity stylist Sam Woolf, pop star Jennie and Chinese singer Ningning who attended the Gala this year

Busta Rhymes performed a surpise set. Here he is with Kaytranada and the man of the hour Richie Akiva.

Views from the stage around 4am – a packed crowd.

Ty Dolla Sign with Leon Thomas. Leon performed a few hits around 3am.

Learn more about Partners and Associates Agency at partnersandassociatesagency.com.

photography. David Prutting + Matt Weinberger
words. Kelsey Barnes

shirt. COS

When you’re watching ‘The Madison,’ the latest show straight from Taylor Sheridan’s stable, you spot a face that rings a bell, and, from this point, you look like Leonardo DiCaprio pointing his finger at a TV in ‘Once Upon a Time in Hollywood.’ That’s right, it’s him: Patrick J. Adams, the actor you probably know from ‘Suits.’ But, as he tells Schön!, Adams tries to escape this sort of typecasting. “There are things I have and have not control over. I can give the best out of me, and still it might not be enough, as it all comes down to the way someone or the entire world sees me,” Adams admits. 

It works there, though: in ‘The Madison,’ he plays the opposite of his iconic Mike Ross, a loving and caring husband named Russell, who is a little bit of a Clyde, but constantly works within the reputation of his family. When his father-in-law unexpectedly dies in a plane crash, Russell will do anything to be there for his family and help them survive this difficult time. Just like in ‘Landman,’ the show touches on the idea of grief, a topic that Taylor Sheridan surely treasures in his writing.   

In conversation with Schön!, Patrick J. Adams talks about pigeonholing, tells us more about his latest show, ‘The Madison,’ and reflects on working with Taylor Sheridan and Michelle Pfeiffer.

shirt. Taylor Stitch
opposite
jacket. Filson
shirt. Citizens of Humanity
jeans. AGOLDE

‘The Madison’ is another show you made, although I suppose a lot of people will still spot you and say, “Look, that’s the guy from ‘Suits.’” Cult TV shows tend to pigeonhole actors – how do you reflect on this today? Is it something that bothers you? Or did you embrace it?

I am constantly concerned about that. There are things I have and have not control over. I can give the best out of me, and still it might not be enough, as it all comes down to the way someone or the entire world sees me. It all comes down to casting, and it’s just a fool’s way to believe I have any agency in it. 

How come?

Many times, I’ve tried to put my hands on that wheel, and it has always backfired. When ‘Suits’ came out, I couldn’t really get a job after it. It was a grind to convince people that I can do anything other than be a cocky lawyer. In my forties, I have decided to release myself from such pressure.

And here we are, talking about ‘The Madison,’ which is now a huge hit. Paramount has already ordered two additional seasons.

It’s a gift, to say the least. I don’t know if starring in this show is going to change anything for my career. There is always a fear of what might happen once you play someone like Russell. He is a great character, has some comedic moments, but do I want to be pigeonholed as this guy for the rest of my life? No, I would not. However, if I go into jobs with that being forefront, it already makes me less brave and puts me in a mindset I should not be in while I’m trying to do my job properly. After playing Russell, I will need to find a different character to use the energy of my body through other means. But that’s a long way ahead. It’s a great mystery where exactly I am going to find myself in the near future.

Regardless of your previous experiences, you found yourself attracted to this particular show. What is so special about Taylor Sheridan and his writing that actors want to be a part of his stories?

Taylor became a sort of institution; an entity that exists somewhere else, separately from mainstream Hollywood. When you’re in it, a lot of pressures and limitations do not seem to apply to a set of his shows. So, by this, he attracts a level of talent. His shows attract audiences all around the world, and I find it rather exciting as an actor. There is some alchemy he is working with, which often appears to be both successful and prominent. He is always left with his own devices, and he is allowed to tell the stories he desires in the first place.

People respond to his storytelling rather enthusiastically, as Taylor is often able to reach some kind of truth that resonates with all of us. Before you even read the script, you already know that you’re entering a certain ecosphere that has its own set of rules and aesthetics. And, in those circumstances, you have Michelle Pfeiffer as a lead – that being said, you can’t say no to this! It’s a big playground, and you’re encouraged to play in it and make the best out of it.

shirt. Taylor Stitch
jeans. AGOLDE
opposite
sweater. Filson
jeans. AGOLDE

His shows remind me of the great American novels. Would you agree?

There is a size and scope to his stories about which we have recently forgotten. We only explore it in Marvel movies, but this is something different now, relying on more modern and sci-fi themes. When it comes to Taylor, he is interested in characters bigger than life. It’s all about ordinary in extraordinary situations. Or, when it comes to his writing, we’re talking about extraordinary characters that find themselves in equally extraordinary situations. 

Walk me through your character’s role in ‘The Madison.’ Who is Russell, and what can you tell us about him?

He is married to Paige (Elle Chapman), the youngest daughter of Stacy (Michelle Pfeiffer). And, he is a little bit of a fool. He is committed to his wife; he lives in fear for her and the entire family, but he remains truly bound. However, when it comes to grieving, he lacks the proper tools to support those women. He is there, yes, his presence is important, but sometimes it’s just not enough. Playing a character like Russell, who is completely out of place and his comfort zone, gives the actor unlimited possibilities. 

Is Russell actually grieving? We learn that he lost his father six years earlier, but he hasn’t been close to his father-in-law. 

I’ve always thought of Russell as a person who does not have any tools to cope with grief. He just does not speak to this person yet; it’s just easier for him to be in a “go-mode” and try to help by his actions instead of actually talking to his wife or other family members. He still hasn’t processed his own father’s death, I believe. 

There is a moving conversation between him and Stacy, his mother-in-law, that happens in the latter part of the show. Both of them are touching on the death of Russel’s dad. 

Yes, and Russell is on route to a much bigger grieving process, which we might show in the following seasons. We all have our own relationships with loss, and we all react differently. We should not be judging people when it comes to how they handle their emotions. I lost my stepfather a few years ago, and I’m aware it’s tough to react and live in a brand-new reality. I recall I was completely lost and needed some time to find myself in all of this.

Russell is less taciturn toward Stacy. He is less apprehensive of talking to her than to his wife. Why is that?  

Before the events of ‘The Madison,’ I feel like they have never really connected with Stacy. He has been there within the family, but that’s just it. He was respectful, but he had just married her daughter, so nothing really happened. Now, Stacy sees that Russell is ready to show up and that he is drawn to the entire family. He might not even realise that yet, but he wants to be a part of this microcosm. 

Russell seems like a guy who suppresses his emotions and sometimes is unable to act when necessary. He often says “yes” to every little thing. Russel wants to be supportive, yet lacks certain self-confidence.

Stacy begins to understand there is more to Russell and pushes him, so he can become a much better version of himself. “What do you really want from this life, Russell?” Who are you?” These are the sort of questions that Stacy starts to ask him throughout the first season of our show. The second season does not skip weeks and months. These characters are still slowly growing, and Sheridan is fully interested in this process.

shirt. Citizens of Humanity
opposite
jacket. Filson
shirt. Citizens of Humanity shirt.

‘The Madison’ kept reminding me of Paul Auster’s last novel, ‘Baumgartner.’ Have you read it by any chance?

No, tell me more.

There is a theme of the main hero losing his wife to an accident caused by the tide while she was surfing. However, he says his beloved was wild at heart, and he couldn’t have stopped her with any of the decisions over the years. Otherwise, the relationship would have failed right from the start. There is something inevitable about the tragedy happening in your show – Preston loved his ranch, and something like this could have happened at any point. The show often asks if his choices were somewhat selfish. 

There is a sense of regret in the show of what we haven’t done quicker. Stacy starts to understand that Preston built this ranch for the entire family, but he has always been there alone or with his brother. But, never with his wife or daughters. I think the show tries to tell us that Stacy could have at least tried to understand why Preston was doing all of this, and, maybe to some extent, embrace this element of his life, instead of treating it as a whim and something that does not really concern her. The suffering comes from the regret of not realising that sometimes we do not see the whole person because of the idealised version of them, which we have always had in our own heads.

In ‘The Madison,’ Preston (Kurt Russell), Stacy’s husband, kept his diary for twenty years. Do you have your own diary? 

Yes, I write in it constantly! My wife and I were going through our old journals recently, and it has been an interesting process to go through. Sometimes, the only way to deal with some big feelings is just to write them down on a piece of paper. In the modern world, men are not used to expressing their feelings at all. They have a pretty difficult time with feeling emotions, as it is often perceived as a weakness. I grew up in a house full of women, so I feel lucky enough, and I’m really grateful for this. I can’t believe what kind of person I would become if it weren’t for them.

Do you feel like the love between Stacy and Preston is the one we should aspire to today? There is something both romantic and impressive in the way they talk to each other.

It’s a classic, beautiful love story. We see the most idealised version of it in the show, but what Taylor really wants to show is how two people, who madly love each other, can perceive themselves even on an everyday basis. Despite the disagreements, they are always a team. I suppose we can aspire to a certain version of a relationship in which we might argue, but still be a part of this journey together and never forget our second half, even in the worst possible moments.

sweater. Filson

photography. Mekhi Turner
fashion. Caroline DeJean
talent. Patrick J. Adams
grooming. Kyumin Sonia Lee
interview. Jan Tracz