Home is a feeling Barcelona-based folk-pop artist Uma has been chasing all her life. Born in Catalonia to a British mother and Thai father, her youth was filled with world-spanning explorations, connecting with people all over the globe through a universal language — music.
Using this history and spectrum of inspiration, she along with Luke Bowers established the “Can Obert” residency in her Spanish home. The residency had her collaborating with the likes of Alice Bloomfield, Max Pope, Amy May Ellis, and others on a variety of projects including extensive songwriting. After considerable time spent honing her craft, Uma has released her debut EP, a beautiful and deeply empathetic series of songs under the name Bel-li. Recently, Schön! spoke to the artist about her work.
The place you grew up translates to “open house”. How does that idea of an “open house” relate to this EP?
The starting point for the EP was the feeling I get when I’m standing on my roof. The arrangements of the songs are actually very full but within them there’s a sense of spaciousness, and that’s what home feels like to me.
How did you begin playing music in the first place?
I started playing the violin when I was four and eventually went on to study music at university. On my twelfth birthday, I remember being given Avril Lavigne and Shakira CDs, and that’s when I first picked up a guitar and tried to write my own songs.
What’s your strongest musical memory?
My parents singing to me. I also remember hiding behind a piano for my first violin recital and feeling terrified of going on stage and making a mistake.
How has travel influenced your development as a musician?
It’s important that we listen and learn. Travelling, watching films, reading, listening to music, going to concerts… these are all things that can allow us to understand the world we live in, and I think it’s inevitable that they seep into our own creative practices, but their influence isn’t always obvious or quantifiable.
The “Can Obert” residency you set up had you create over twenty songs in a week. What did that experience teach you about songwriting?
It taught me discipline in practice. I’ve always found it easier to create in times of extreme emotion or hardship and found it very difficult when things are going well, but having to write a whole song every day within a time limit allows you to develop a more even and constant workflow. It’s a bit like muscle memory. It was also an important lesson in collaboration and how a lot of the time the best work comes from shared enthusiasm.
The name of your EP is ‘Bel-li’. What does that name mean to you?
I process all of my feelings through my stomach; when I’m anxious or upset it’s my stomach that feels it first. I also love food and the idea of belly — the sound of the word feels like comfort. In Catalan, Bel·li or Bèl·lic can mean war (originating from the Latin Bellum) and Bel or Belar is the word for the sounds goats make. I really like the combination of meanings.
The last single from this EP was “Standing in the Sun“. Tell us a little about the writing process for that song.
“Standing in the Sun” is one of those songs that happened really fast. I wrote it in one sitting and felt really relieved when it was done.
Can you talk about your vision for the video for that song? How was that vision accomplished?
I have grown up surrounded by very strong mothers, grandmothers, and sisters; they are my support system. I wanted a video that paid homage to the women picking us up when everything around us is falling apart. The director, Esther Boyarizo, took that idea and brought it to life in a really beautiful way. I was going through a breakup and writing the song about it and thinking about what the video should be so my original idea was a lot darker, but Esther brought a fresh perspective. Her approach was light and playful, and the end product feels honest and true to both our visions.
You’ve described the EP as being about “home”. What does “home” look like to you?
Home is a house full of the people I love and my animals. Home is also my mother.
Which track on Bel-li was the final finished track? What was the experience like, knowing that the EP was done?
The last song we finished was “Standing in the Sun”, but I don’t think I processed that I had finished the EP until it was out in the world. It’s been a long time coming and, finally being able to share it was really exciting and terrifying in equal parts.
Where is the ideal place to experience Bel-li for the first time?
Outside after a long sunny day or in bed when it’s raining.
jacket. Izakova
top. St. Agni
earrings. Bangla Begum
necklace. Pyrrha
jacket. Izakova
top. St. Agni
earrings. Bangla Begum
necklace. Pyrrha
Credits
Sahana Srinivasan brings a sharp wit and layered depth to her role in The Pradeeps of Pittsburgh, a show that blends sitcom energy with unexpected twists. As Bhanu, the sarcastic and reluctant eldest daughter of an immigrant family, she navigates identity, family tensions, and the absurdity of life with a deadpan charm reminiscent of Wednesday Addams or April Ludgate. Beyond the humour, Sahana’s approach to the role—complete with mood boards, dialect coaching, and personal reflections—reveals a deep commitment to storytelling.
Schön! sits down with her to discuss The Pradeeps of Pittsburgh, what sets the show apart from other comedies, and more.
jacket. The Mannei
top. St. Agni
necklaces. Sin by Mannei + Pyrrha
opposite
top. SHAO New York
skirt. Icon Denim
shoes. Kazar Studio
earrings. ANNELE
necklace. Pyrrha
socks. Calzedonia
jacket. The Mannei
top. St. Agni
necklaces. Sin by Mannei + Pyrrha
opposite
top. SHAO New York
skirt. Icon Denim
shoes. Kazar Studio
earrings. ANNELE
necklace. Pyrrha
socks. Calzedonia
Credits
What drew you to the role in The Pradeeps of Pittsburgh, and how did you prepare for it?
There’s a lot of absurdity and satire in The Pradeeps of Pittsburgh, which are two of my favourite things. I love getting to be silly, and the Rashomon-style storytelling of the flashbacks encouraged that because I got to completely change the character—and even the genre—depending on who was telling the story. When I prepare for roles, rather than writing about them, I love creating fun visuals. I made a mood board for Bhanu that included a lot of photos of me from high school looking “over it,” along with vibrant colours, bangles, bindis, and other elements of Indian culture. I also added a bicycle because, in the first episode, she finds one in the shed of her new house, which leads to her first interaction with Stu—kind of the inciting incident for her arc in the show. The accent was also something I really wanted to get right. We had dialect coaching, but I also spoke to a lot of my family members and friends with roots in northern India, since my immediate family is from the south and there are quite a few differences in speech patterns.
The show focuses on the experiences of an immigrant family. How does it reflect or resonate with your own experiences or those of people you know?
What’s interesting is that the show reflects the immigrant experience not just through its characters and plot, but also in more abstract ways. It’s a sitcom with a lot of humour, but there’s also a darker mystery element, and the lighting and colour correction lean into that. Even though I’m first-generation, I relate to the idea of using humour to get through difficult situations as a person of colour living in America. The wardrobe choices in the flashbacks are much more colourful and traditional compared to the present-day interrogation scenes, which, to me, symbolizes how people come to America full of hope and culture, only to realize it’s a very different reality than they expected. That inevitably changes them. That being said, the family dynamics in the show are relatable to anyone, which highlights how similar our experiences can be regardless of where we come from.
What do you think sets The Pradeeps of Pittsburgh apart from other family-centric comedies?
Tonally, it’s really unique. The first episode has traditional sitcom vibes, but then things take a wild turn, and from there, the plot becomes completely unpredictable. Every episode ends on a cliffhanger, which is something you don’t see in a lot of family comedies.
cardigan. Duvin
dress. Rabot
necklaces. Pyrrha + Annele
opposite
top. SHAO New York
skirt. Icon Denim
shoes. Kazar Studio
earrings. ANNELE
necklace. Pyrrha
socks. Calzedonia
cardigan. Duvin
dress. Rabot
necklaces. Pyrrha + Annele
opposite
top. SHAO New York
skirt. Icon Denim
shoes. Kazar Studio
earrings. ANNELE
necklace. Pyrrha
socks. Calzedonia
Credits
jacket. The Mannei
necklaces. Sin by Mannei + Pyrrha
opposite
jacket + shorts. Izakova
top. St. Agni
boots. Kazar Studio
earrings. Bangla Begum
necklace. Pyrrha
jacket. The Mannei
necklaces. Sin by Mannei + Pyrrha
opposite
jacket + shorts. Izakova
top. St. Agni
boots. Kazar Studio
earrings. Bangla Begum
necklace. Pyrrha
Credits
How would you describe the dynamic between your character and the rest of the family?
Bhanu is hard to read. I loved giving her this deadpan, Wednesday Addams or April Ludgate energy—she has a lot of love for her family, but she’s at that age where she struggles to fit in while also not really wanting to. On top of that, she’s navigating the confusion and resentment of being brought to America without a say in the decision. Her relationship with her mom, Sudha, is especially interesting. They’re very similar—both opinionated and sharp—so they constantly butt heads. But at the same time, Bhanu secretly feels the most understood by her mother. Her “dorky brothers” have each other, but as the oldest sibling, Bhanu takes on a sense of responsibility. She stands up for them when they need it—like when she takes them to egg Vinod’s bully’s house.
Comedy often relies on timing and chemistry. What was it like working with the cast, and do you have any memorable moments from the set?
We filmed the show in Toronto, and since most of the cast wasn’t from there, we all stayed at the same hotel and spent a lot of time together. But because it was freezing cold, we mostly stayed in—playing Mario Kart, watching movies, and eating pizza on the weekends. It really felt like family. We could do almost nothing together and still have fun.
The series tackles both humorous and heartfelt moments. How do you find the balance between comedy and emotional depth in your performance?
Bhanu’s arc ended up having more emotional depth than I expected. I loved getting to do both comedy and drama because it reminded me that my character is human—she’s not one-note.
Even in comedic scenes, I’m always thinking about her emotions and stakes, because without that, the comedy wouldn’t land as well. The funniest moments are usually rooted in something real.
Beyond The Pradeeps of Pittsburgh, what kind of stories are you interested in exploring as an actor, and do you have any upcoming projects you’re excited about?
I definitely want to keep doing comedy, but I’d love to explore different genres within it—horror-comedy, action-comedy, multi-cam sitcoms, and anything that lets me make people laugh in new ways.
jacket. The Mannei
top. St. Agni
jeans. Jessie Da Silva
necklaces. Sin by Mannei + Pyrrha
jacket. The Mannei
top. St. Agni
jeans. Jessie Da Silva
necklaces. Sin by Mannei + Pyrrha
Credits
top. SHAO New York
earrings. ANNELE
necklace. Pyrrha
opposite
top. SHAO New York
top. SHAO New York
earrings. ANNELE
necklace. Pyrrha
opposite
top. SHAO New York
From the quiet streets of Harrisburg to the electric avenues of New York City, Layton Lamell is a rising force in both the acting and fashion worlds. His journey is one of bold decisions and relentless ambition, a story that took root in a small college dorm room at Indiana University of Pennsylvania. It was there, standing before a mirror, envisioning himself striding through NYC’s bustling streets, that the spark ignited. But the flame truly roared to life one cold night at a local movie theatre, watching Joaquin Phoenix’s transformative performance in Joker. That film struck a chord so deep that Layton left the theatre and immediately called his mother, declaring his intent to move to New York and pursue acting. With her blessing — and a global pandemic offering unexpected time for reflection and planning — his dream set its course.
Since then, Layton has made his mark with his Off-Broadway debut in A Dream in 303, stepping into the spotlight with only 72 hours to prepare for a role that would alter his path forever. The whirlwind journey — from booking a late-night bus to NYC on his birthday to memorizing nearly 100 pages of dialogue in mere days — was as challenging as it was rewarding. Yet, for Layton, the standing ovations and heartfelt audience reactions reaffirmed what he had long felt in his heart: this was his calling.
Looking ahead, Layton’s calendar brims with new projects — an upcoming play and an indie film — poised to push his creative boundaries even further. To him, true artistry lies in fearlessly embracing life, feeling every emotion deeply, and channelling those experiences into his work. It’s about honouring his culture, taking risks, and stepping into the industry not just as an actor but as a creative force. Schön! sits down with him to discuss what the future holds, upcoming projects, and beyond.
top. MNK
shorts. Corinna Houidi
top. MNK
shorts. Corinna Houidi
Credits
From Harrisburg to NYC, what was the turning point that made you pursue acting and modelling professionally?
The turning point happened in my college dorm room at Indiana University of Pennsylvania. I remember standing in front of the mirror, trying on different outfits, and imagining myself walking through the streets of New York City. I’d sketch product designs in my notebook, dreaming of something bigger. But it all crystallized one cold night when I walked to the local movie theatre to watch Joker directed by Todd Phillips and starring Joaquin Phoenix. That film inspired me that I called my mother right after, telling her I wanted to move to NYC to study acting. It wasn’t an easy decision — I had a partial scholarship — but she heard me out and gave me her blessing. Then COVID hit, which unexpectedly gave me time to plan my next steps. From there, everything started falling into place.
A Dream in 303 marked your Off-Broadway debut. What was the most challenging and rewarding part of stepping onto that stage?
The biggest challenge was stepping into the role with just 72 hours to prepare. The production had been in the works since the summer of 2024, and I was cast at the last minute after other actors dropped out due to scheduling conflicts. I got the call on January 24th, rehearsals started the next day — which happened to be my birthday — and opening night was January 29th.
I had planned to celebrate my birthday with my family, but when this opportunity came, I knew I couldn’t hesitate.
At 11:30 PM I booked a bus, leaving at 1:30 AM, and spent the entire ride rehearsing lines, refusing to sleep. I arrived in NYC at 5:30 AM and By 10 AM, I was at the rehearsal location, meeting the cast and jumping right into the play. It wasn’t easy, but the cast was supportive. I promised them I’d be fully ready by opening night, so I went home, shut off my phone, and committed fully to the work. The most rewarding part? Knowing I could rise to the challenge. Learning nearly 100 pages of dialogue in a couple of days, performing in front of live audiences, and hearing how my performance impacted others — it confirmed that this is what I’m meant to do. That moment changed my life.
How did your experience at the Terry Knickerbocker Studio shape your approach to acting? Do you find yourself applying those lessons in your work today?
Training at Terry Knickerbocker Studio gave me the foundation I needed to craft compelling work. It wasn’t just about technique — it taught me how to truly listen, to be present, and to have compassion for humanity and art. More than anything, it deepened my love for the craft. I learned that acting isn’t about performance; it’s about truth. And that truth comes from stillness, from being open to the moment. If I ever feel lost, I know I can return to my training — to the toolkit I built there — to ground myself in any role. I owe a lot to the incredible mentors who poured their knowledge into me: Terry Knickerbocker, Celestine Rae, Matthew Dudley, John Gutierrez, Justin Cimino, Kana Sato, and Pandora Scooter. Their wisdom continues to guide me, not just as an actor but as an artist.
shirt. Mr. C
trousers. Tom Ford
shoes. Kenzo Paris
opposite
suit jacket + shirt. Hipolito Pollantins
vintage tee shirt. Betty Boop
skirt + trousers. Stylist’s Own
shoes + bag. Gucci
shirt. Mr. C
trousers. Tom Ford
shoes. Kenzo Paris
opposite
suit jacket + shirt. Hipolito Pollantins
vintage tee shirt. Betty Boop
skirt + trousers. Stylist’s Own
shoes + bag. Gucci
Credits
You’ve worked with brands like Jean Paul Gaultier, Ralph Lauren, and Louis Vuitton. How do you navigate the intersection of acting and fashion, and do you see them influencing each other in your career?
Fashion and acting are both about storytelling. When I wake up in the morning, the way I dress reflects how I feel—it’s an extension of my personality. The same applies to a character. What they wear helps define their world, their emotions, and their essence. I see myself at the intersection of fashion and entertainment, being intentional about what I wear to public events and how it aligns with my projects. Icons like Zendaya & Law Roach, Colman Domingo, Timothée Chalamet, and Taylor Russell master this art — using fashion as an extension of their storytelling. That’s the vision: to collaborate with world-class stylists, designers, and fashion houses to bring a character, a moment, or a narrative to life.
With several productions in the works, is there a particular role or project that excites you the most right now?
I’m incredibly excited about a few upcoming projects, including a play and an indie film that I can’t speak too much about yet. But I will say this: they are game-changers. They will challenge me as an artist and push me to new creative heights.
You’ve spoken about pushing creative boundaries—what does that mean for you personally and professionally?
For me, pushing boundaries means fully experiencing life — feeling every emotion deeply instead of suppressing it. The more I live, the more I have to pull from in my art. Professionally, it means having a deep reverence for the craft but also thinking beyond just being an actor. I want to approach this industry like a studio — not just talent, but a creative force that builds worlds, amplifies voices, and disrupts traditional models. It means staying true to my culture, taking risks, and using my platform to help others where it’s needed.
If you had to create a short film where your wardrobe tells a story — perhaps featuring pieces from Louis Vuitton, Ralph Lauren, and HOKA—what would be the central theme or narrative?
The Gospel Of The Burg — a short film where wardrobe tells a story of legacy, faith, and style. It’s set in a small church where my Nana, a woman who never owned a Louis Vuitton purse but worked tirelessly to uplift her community, is at the heart of the story. The church is the soul of the neighbourhood—where hard work, faith, and fashion collide. I imagine the whole congregation decked out in Louis Vuitton: choir robes embroidered with LV monograms, the pastor in gold-rimmed LV glasses with a single LV-engraved gold tooth, and the offering tray — gold with LV detailing—circulating through the pews. The church ladies wear extravagant LV hats, men in tailored suits, and the stained-glass windows shimmer with the monogram print, symbolizing wealth, faith, and aspiration.
The soundtrack? A full “Church of God in Christ” gospel choir delivering powerful harmonies, blending traditional hymns with a modern, soulful twist. The tone? A mix of comedy and heart—think Friday After Next meets The Color Purple. The pastor played in the style of Katt Williams, is hilariously over-the-top yet wise, dropping gems in between his stylish sermons. At its core, the film is about luxury in the eyes of the people — the idea that success isn’t just about material things, but about the community, love, and legacy that live beyond possessions. It’s a love letter to those who came before us, to Black culture, and to storytelling through fashion.
Imagine you have just 24 hours to prepare for your dream role, with no prior notice. What’s the role, and how do you prepare mentally and physically to bring it to life?
That role would definitely be playing the live-action Miles Morales in Spider-Man. It wouldn’t just be a career milestone — it would be a cultural moment. With only 24 hours, my focus would be on embodying Miles’ heart, movement, and mindset. I’d study his journey, tap into his Brooklyn energy, and work on agility and fight choreography. More than anything, I’d live in his world—improvising scenes, moving like Spider-Man throughout the day, and carrying his confidence and vulnerability in every step. But at the end of the day, preparation is about trust. Trusting that everything I’ve done — every lesson, every role, every moment of training — has led me here. Miles Morales is about stepping up before you feel ready. And that’s exactly what I’ve been doing my whole life.
suit jacket + shirt. Hipolito Pollantins
vintage tee shirt. Betty Boop
skirt + trousers. Stylist’s Own
shoes + bag. Gucci
suit jacket + shirt. Hipolito Pollantins
vintage tee shirt. Betty Boop
skirt + trousers. Stylist’s Own
shoes + bag. Gucci
London got their taste of Tinashe‘s Match My Freak world tour on 23 February as the Grammy-winning singer brought the sounds of her latest album Quantum Album to life on stage at O2 Academy Brixton. Known for her dynamic choreography, infectious pop hooks and magnetic charm, the Schön! 40 digital cover star has spent her 2025 touring Asia and Europe. After a successful run of hits in the past year like Nasty and No Broke Boys, fans got a dive deep into the star’s discography on the penultimate night of Tinashe’s tour. Relive the evening captured by Schön!
