It’s time for a break. This Schön! online exclusive photographed by Eric White captures model Aleya Ali in a holiday mood, wearing looks by Commission, Scarlet Sage, Angel Chen and others styled by Daniel Abbott. Art direction for the editorial is by Liz Green, and beauty is by Stephanie Peterson.
Ahead of the UEFA Women’s EURO in Geneva this summer, Nike revealed the new national football team kits for 2025 with an energetic event in London. Some of the beautiful game’s brightest stars like England’s Lucy Bronze took centre stage at an electrifying showcase that featured a live drum band, roaring fans and a live performance from London rapper Ms Banks. It was a true celebration of where athleticism meets culture and fashion.
Nike has long been at the forefront of championing women in football, and not just their performance on the pitch, but also the stories that got them there. “We have been making women really visible from the very beginning. You can take it all the way back to when we started running to now in football. Whether that’s in the 90s with Mia Hamm, whether that’s Megan Rapinoe and championing her on and off the pitch, to the athletes that we’re working with today,” says Stephanie Ankrah, former Nike VP of EMEA Women’s Brand Marketing on the cultural influence of women in football. “The voice of the athlete is centre to everything we do at Nike,” she adds. Athletes “dream bigger than anyone else. There really is no finish line with them. They’re always pushing to be the best they can be. We do the same so we tend to gravitate towards each other naturally.”
From head to toe, Nike’s mission to invest in women’s football is integrated into every part of the kit design, including German player Klara Bühl’s favourite football boot, the Nike Phantom. “It’s the comfort. You just go in and feel really good,” she says. “It’s cool to see that people are taking care of [women]. When you see players get injured, you study [it] and then you create something that helps women.” With the tools to show up as her best self, Bühl says that she feels great pride to have a platform that inspires women within the sport and beyond. “I’m really proud that we made these steps, that we show who we are, and that we have this opportunity to fill women’s football with such great personalities and values.”
The power of the game to connect and empower people is unmatched, a lesson that Nike’s Ankrah learned early on. “My dad came from Ghana, landed in Wales and the one thing that made him integrate into society was being able to play football,” she tells Schön! “I do believe the power of sport in multiple situations is incredible.” When it comes to women’s football, Ankrah passionately believes in celebrating the dreams of athletes regardless of their background. “I would love to remove [the term] ‘women’ in football and just talk about athletes, and how do we help athletes make their dreams real, regardless of who they are,” she says. “There are so many young girls who are seeing the things that we do and I hope that the barrier that once existed of being a female athlete is removed for them.”
coat. Burberry
shirt + tie. Brooks Brothers
trousers. SANDRO
shoes. Christian Louboutin
belt + braces. Stylist’s own
sunglasses. Ray-Ban
Kelly McCormack moves through creative disciplines like a force of nature, propelled by a relentless curiosity. Beginning her career as an actor and singer, she has expanded her artistry into experimental realms, always seeking forms that can match the scope of her expressive drive. Speaking with us for Schön! 48, dressed in Burberry, she opens up about her latest role as Natasha in Eva Victor’s award-winning ‘Sorry, Baby,’ which sees McCormack diving into the complexities of a hyper-competitive, tightly wound character. “She’s this Anne-of-Green-Gables-cosplaying-Virginia-Woolf-wannabe-horse-girl,” McCormack says of Natasha, a portrayal that balances satire and psychological depth. “I told Eva, ‘I’ll do this part if you let me have extensions that go all the way to my butt.’” At the center of the story is a fraught triangle between two women and a male professor, creating a layered dynamic beneath the comedy.
Despite its sharp humour, ‘Sorry, Baby’ cuts deeply into serious terrain. “They manage to capture how mundane sexual violence is for women,” McCormack explains, “and how a lot of [the] fallout is you connecting with your best friend, and the two of you just talking by rote about what needs to happen next. The fact that Eva was able to capture this tone is ground-breaking.”
McCormack received the ‘Sorry, Baby’ script while completing a master’s degree in Women’s, Gender, and Sexuality Studies at the University of Oxford, where she focused her thesis on male homosocial environments and the unsettling question: “How do men discuss rape when they are alone with themselves?” When academic language failed to contain her emotional response, she turned to art, creating the installation Robes & Latin: Or, How to Get Kicked Out. There, she presented what she calls her “disemboweled feelings and thoughts that came with studying this topic.”
This fluid transition between academic, artistic, and performative modes is core to McCormack’s identity. When one form falls short, she shifts seamlessly to another. Referencing librettist Oscar Hammerstein, she says, “When you can’t say it, you sing it. When you get to the point where you can’t sing it, dance it.” For her, it’s not about versatility — it’s about necessity. “It’s the constant revelation that I cannot use this language to express myself adequately. Then you move to the next, and it just gets heightened, and heightened, and heightened.”
McCormack thrives in constant metamorphosis — writer, director, actor, academic, musician — never staying in one creative skin for long. Her work is not about finality but about discovery. As she puts it, her goal is “to remain a mystery to herself” while she continues to “track the animal within.”
coat. Burberry
shirt + tie. Brooks Brothers
trousers. SANDRO
shoes. Christian Louboutin
belt + braces. Stylist’s own
sunglasses. Ray-Ban
jacket + shirt. Lemaire
trousers. Bluemarble
glasses. Gloria Vanderbilt
tie. Brooks Brothers
belt. Los Angeles Apparel
watch. OMEGA
opposite
shirt. Bluemarble
trousers. An Only Child
glasses. Ray-Ban
tie. Brooks Brothers
watch. OMEGA
jacket. Ralph Lauren @ Paumé Los Angeles
polo + shorts. Polo Ralph Lauren @ Millers Room
shirt + tie. Brooks Brothers
socks. Comme Si
shoes. Our Legacy
ring. Wild West Social Club
coat. Luu Dan
suit. SANDRO
jumper. Helmut Lang @ Paumé Los Angeles
shoes. G.H.BASS
Sorry, Baby will be released in U.S. cinemas this July.
