top. MNK
shorts. Corinna Houidi
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
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
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.
top. MNK
shorts. Corinna Houidi
shoes. Gucci
opposite
suit jacket + shirt. Hipolito Pollantins
trousers. Michael Kors
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
photography. Joebert Tupas
creative direction + fashion. Christopher Felt
talent. Layton Lamell
hair. Kayra Theodore
make up. Sonali Krisa
styling pull. Hipolito Pollantis
bts. Chishi Ifu
photography Assistant. Kazz Chang
fashion assistant. Katie Hodge
interview. Alper Kurtel
