Presence And Performance | Mercedes-Benz Celebrates The Now
With an ever-accelerating idea of progression, it’s easy to forget the importance of present: as we push forward in a celebration of speed and evolution, so do rapidly evolving-mediums celebrate the creative possibilities opened up to us as individuals by these forward movements. Keeping a close watch on these changes, creative industries have always been at the forefront of crystallising these possibilities. With emerging forms of practices and performances, art brings the now into existence, presenting unparalleled experiences of time, bodies and reality.
Capturing the very fabric of the now, Mercedes-Benz is exploring the configuration of technology and time with its plug-in hybrid models. Far from being a futuristic idea of potential, the hybrid Mercedes-Benz vehicles represent the best e-mobility technology – a reality that is intrinsic to the present. Much more than an intangible reality, Mercedes-Benz is expanding concrete possibilities beyond electric vehicles. Creating a veritable ecosystem around electric mobility, EQ – which stands for ‘Electric Intelligence’ – combines services, product design and innovation to cover all key aspects of customer-focused technology. EQ offers everthing from wallboxes and charging services, to home energy storage units. Emotion and Intelligence, the core values of Mercedes-Benz, come to life in EQ.
To celebrate the now, Mercedes-Benz created a 12-hour live film that explored the ways in which embodied presence can inform and reform time. Enticing viewers to experience the now, the changes over the course of the film came together to build a unique moment in time. As part of the film, Mercedes-Benz teamed up with award-winning choreographer Darren Johnston, bringing together film, dance, art and music. Translated through movement and light, the performance combined elements of the circadian rhythm with real-life practices that echoed the physiological transitions of the body through time.
Documenting the whole process through multiple live cameras, the world’s first live commercial was an ever-evolving performance that was streamed on Youtube. Spectators joined in over the 12 hours to experience the fabric of now, witnessing various moments in time that blended seamlessly into one another over the course of the time frame. As a composer layered, re-arranged and produced the soundtrack live from the studio, close collaborators of Bonobo, Jon Hopkins, Heritage Orchestra, Roni Size and Andreya Triana improvised performances, providing the impulse to an embodied performance that invited viewers to live the now. Mercedes-Benz merged past and future, as they colluded to produce one creative moment. One that continues to be lived and experienced by you.
all clothing. Burberry
belt. Anderson’s
boots. Manolo Blahnik
all clothing. Burberry
belt. Anderson’s
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Fresh off an intense five-and-a-half-hour tennis match, Jason Isaacs appears anything but drained; his enthusiasm is evident even over Zoom. Despite being deep into an exhaustive press tour — and likely having fielded every imaginable question — he’s genuinely eager to chat with Schön! about ‘The White Lotus‘. Perhaps it’s the setting — a tennis camp in Spain — that leaves him eager to fill downtime. More likely, it’s because Isaacs himself is a genuine fan. “I’m slightly marvelling that I’m in it. I’m used to being in indie movies that don’t come out – or come out and close quickly,” he laughs.
Season three of Mike White’s acclaimed dark comedy-drama transports viewers to a wellness retreat in Koh Samui, with Isaacs portraying Timothy Ratliff, a wealthy patriarch travelling with his family. Landing a role in such a coveted ensemble required Isaacs to step outside his norm and audition. “Because I don’t normally audition,” he shares, “I was the same bumbling, stuttering, insecure fool that I had been for the first ten years of my career.”
Isaacs is known for his remarkable ability to fully inhabit each character he portrays, seamlessly adopting new accents as needed. In ‘The Death of Stalin’, the Yorkshire accent felt natural from the script itself, while for ‘Harry Potter’, he crafted Lucius Malfoy’s voice to “drip with entitlement and arrogance and scorn.” Yet that performance almost didn’t happen. “I came up with his voice and they weren’t going to let me do it,” Isaacs recalls. “I did the first rehearsal, and [Chris Columbus and David Heyman] went, ‘I don’t know, it’s very, very extreme.’ Daniel [Radcliffe] was standing there, and he went, ‘I think it’s cool.’”
In his forthcoming film ‘The Salt Path‘, a poignant biographical drama adapted from Raynor “Ray” Winn’s memoir, Isaacs plays Moth Winn, a man grappling with homelessness and the devastating effects of corticobasal degeneration, a rare neurological disorder. “It’s a horrible cliché when people say that the landscape is a character in the film, but it’s a huge character in their life,” Isaacs reflects, noting the remarkable improvement in Moth’s condition during long walks. “Every audience member can guess, ‘Is it love? Is it nature?’,” he muses. “I like to believe it’s love.”
Looking ahead, Isaacs is gearing up to begin shooting several independent films, chosen as much for the creative challenge they offer him as for the enjoyment they promise audiences. “I’m not looking to build a career,” he explains. “I’m not looking to be anything that I’m not. I just want to keep having an interesting time at work.”
For now, he’s savouring time with his daughters — “Any time I can be on the same continent, my heart just settles a bit.” — and anticipating how many more hours of tennis he can squeeze in tomorrow.
full look. ZEGNA
full look. ZEGNA
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shirt. Fursac
trousers. Edward Sexton
boots. R.M Williams
bracelets throughout. Jason’s own
watch. TAG Heuer
shirt. Fursac
trousers. Edward Sexton
boots. R.M Williams
bracelets throughout. Jason’s own
watch. TAG Heuer
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all clothing. Edward Sexton
shoes. Harrys of London
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full look. ZEGNA
all clothing. Edward Sexton
shoes. Harrys of London
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full look. ZEGNA
To call Alexander Hodge a rising star would be an understatement. With a presence that feels both grounded and electric, the Chinese-Australian actor first caught the world’s attention as Andrew on HBO’s ‘Insecure’ — the calm, confident partner who instantly became a fan favourite (and is still affectionately referred to as “Asian Bae” by his fans). But to define Hodge by a single role would miss the point entirely.
Born in Sydney to a Chinese father and Irish-Australian mother, Hodge’s path to Hollywood wasn’t exactly linear. A rugby injury nudged him toward the arts, and from there, he found power in performance — especially in roles that challenged the narrow depictions of Asian masculinity that dominated his youth. He’s been vocal about the need for authentic representation, calling out tokenism and pushing for characters with depth, vulnerability, and range.
Hodge opens up to Schön! about his career trajectory, his interest in genre-bending projects, his experiences working with masters like Edie Falco and Colman Domingo, and his multicultural identity in a candid and insightful conversation.
Fans still lovingly call you “Asian Bae” from your time on ‘Insecure’. How do you feel that role shaped your public image, and how have you evolved since then as an actor? Do you still get called “Asian Bae”?
Look, I think there are a lot worse things to be associated with than that role, that character, and that show. I loved my time on ‘Insecure’. I loved that character. I loved the way he reached people. I really have — and always will have — a deep gratitude towards the people of ‘Insecure’ and the time I spent on that show. I was young, 26, when I first appeared, and those were the first few years of my career. I’m really grateful that this is how things began.
It’s something that people still find impactful and meaningful, and the fact that it still resonates today — that’s something I’m very thankful for. Look, if that ends up being the highest height my career ever reaches, I’ll still be very happy. But I’m also thankful that I’ve continued to work and progress since then.
Yeah, and also it’s been kind of almost ten years, right? It’s been nine years since the show premiered, I think.
Yeah, it’s been nine years. I felt really old just then — if you were gonna say ten, I might’ve lost it. But no, not quite!
Can you tell me about ‘Garden Society’? You recently joined it—what can you tell us about this new project and the character you play in it?
Yeah, ‘Grosse Pointe Garden Society‘ is something that I think makes network TV great. That’s its strength. Shows like this haven’t really been on our TVs for a while — since streaming got big and a lot changed in the industry. Network television itself has changed a lot over the last ten years. I think ‘Garden Society’ is the kind of show that brings people together around a house. It’s something people watch in groups. It’s similar to Insecure in that way—there was so much conversation around the story and characters.
I call it “anthemic” because it’s designed to be experienced in the community. It’s not meant to be consumed alone. It’s rewarding when you watch it with friends or family, because then you can talk about each character—who’s being a shitty person or a good person, who’s changing from episode to episode and making you like them more or less. And on top of that, the scandal—the murder and crime elements—are playful and fun. To me, that’s what makes network TV great.
I also did a little research before the interview, and it seems like you love breaking genre moulds. From ‘Joyride’ to ‘Wellmania and ‘Skater’, you’ve taken on some bold roles. What excites you most about projects like that, which push traditional boundaries?
It’s a convenient way to pitch something. It helps executives understand what they’re buying into. But as a consumer or viewer, genre can be restrictive. Our favourite comedies can teach us something deep. Our most serious dramas can still be funny. They can have levity and pathos. I think that reflects real life—the duality of things. I can remember the worst times in my life, and still laugh about how ridiculous my situation was. And I’ve had great days that ended with my motorbike breaking down. There’s always that juxtaposition. So I think challenging genre confines is important — it makes the work feel more real, more relatable, more multidimensional.
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tank top. Calvin Klein
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jacket. Polo Ralph Lauren
tank top. Calvin Klein
jacket. Polo Ralph Lauren
tank top. Calvin Klein
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jacket. Polo Ralph Lauren
tank top. Calvin Klein
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You also star alongside major talents like Edie Falco and Colman Domingo. What have you learned from working with such seasoned actors? Working with legends like that must be wild.
Some of my favourite stories came from my time with Edie Falco. She would share these incredible battle stories from ‘The Sopranos’ and ‘Nurse Jackie’. I learned so much about James Gandolfini from her anecdotes. But more than that, Edie on set was one of the most relaxed actors I’ve ever seen. She was completely unfazed, even in stressful situations. I learned how to treat this like a job, to know what I’m there for, and to really understand my place in the room. Edie was so great at knowing her job — what she was there to do and what she was being paid for.
Colman is another version of that. He understands his own essence and his strengths in any room. He has this infectious energy, this zest for life, that just rubs off on you. From him, I learned to give myself permission to be playful, to feel young, to be less serious. When I was younger, I had this intense drive to be a “serious actor” — that struggling, indie artist kind of thing. I identified with that angst and restlessness. But now, in my early thirties, I think more about playing. I want to bring childlike curiosity to what I do. And seeing these incredible professionals who are also playful, light, and full of joy — that changed my approach.
It almost sounds like an experimental approach to performance—maybe that’s the best way to do it.
Exactly. This job isn’t like a traditional corporate job with a fixed structure. You can land a huge opportunity at any moment. So there’s a lot of trial and error—you have to see what works for you.
What works today might not work tomorrow. So you need the elasticity to rearrange yourself or recalibrate depending on what the moment requires—whether it’s a comedic scene, a dramatic one, or something else entirely. You’re not the same person every day, and no one else on set is either. One day your scene partner might need something totally different from you. Or the director might. Maybe one day you don’t crack any jokes, and the next you do—just to get through the 13th hour of the day. It’s about adaptability in both craft and personality.
You grew up in Australia, played rugby, and trained in martial arts. Do those physical disciplines influence your acting — presence, focus, choreography maybe?
Yeah, definitely. I grew up playing rugby and I still box today. I train at a boxing gym. It’s always important to maintain a deep understanding of your physical instrument—your body. That’s something I learned from theatre school too. How your body moves, how it communicates—that’s essential, especially on camera. Even when it comes to tension, like when there’s something brewing in a boxing gym or on a rugby field, understanding that kind of physical anticipation adds to performance.
For this show, we’re working on some fight scenes. My character doesn’t know how to fight, so we’ve been playing with that. I know how someone would throw a punch, and I know how someone wouldn’t—so I can layer that into the performance and storytelling.
I also thought martial arts and acting both require discipline — so maybe that’s another connection?
That’s so true. Actually, acting helps my boxing too. When I’m sparring, I can fall into rigidity because of my athletic background — I’m used to being coached and following instructions. But sparring with someone new is unpredictable.
Acting has trained me to be present. In boxing, if you’re not present, you’ll probably get your nose broken. (laughs) But that presence — that improvisation — helps in both worlds. Between “action” and “cut,” no one’s guiding you. You have to respond to what’s in front of you, to your scene partner.
But martial arts stays as a hobby, right? Not something you would ever do professionally?
Absolutely not. I’m too involved, too slow, and honestly, I’m too precious about my face. (laughs) I’d have a losing record! No professional ambitions in that area—don’t worry.
You trained at the American Academy of Dramatic Arts and were part of the ABC Talent Showcase. How did those experiences prepare you for where you are now?
You’ve really done your homework! Theatre gave me a solid foundation — discipline, voice work, physical movement, technical awareness. But beyond that, it gave me deep script analysis skills and an appreciation for history and storytelling. Yes, there’s raw talent and instinct, but backing that up with craft is essential. Whether it’s formal education or personal study, there’s a lot to be said for humbling yourself and continuing to learn.
The ABC Disney Showcase taught me to trust myself—to believe in what makes me different. Out of 10,000 people auditioning, most can say the lines. The difference is why you say them the way you do. Maybe it’s because I played rugby, or because I love cooking—whatever it is, that unique life experience comes through in performance.
So being unique moves you to the front of the line, maybe?
Yeah, I guess. I mean, I’m a little hesitant to use the word “unique” because I don’t think it’s something you can really mine. I don’t think you go out searching for uniqueness. In my experience, it’s more about relaxing—reclining—into yourself. It’s about stopping the search for something outside the bounds of who you already are, and instead going inward. Understanding and embracing that version of yourself, rather than trying to chase anything else. You’re not trying to give the De Niro version, or the Jennifer Lawrence version—you’re giving the version that’s uniquely you. And I think that’s something society doesn’t always encourage us to do. But it’s probably the most honest and powerful thing you can offer.
Do you gravitate toward one type of project more than another? Or is the story always what draws you in—because your credits span both indie gems and big mainstream hits?
I think my career reflects that I was, for a long time, chasing status or chasing an ideal. That’s why I’ve done a bit of everything—network TV, cable, indie films, studio films, theatre. It’s like, if there was a type of work out there, I probably tried to do a version of it. At the time, I think I was chasing someone else’s career. I had this idea of what I was supposed to be or who I wanted to emulate. But now, the number one thing I look for is the people involved.
Is this a group of people I want to spend six, eight, ten months—or even years—with? And if not, then there has to be another reason to do it. Either it’s so creatively fulfilling that it can’t be ignored, or it pays me really well. (laughs) At this point in my life, what matters most is two things: time and happiness. If I’m going to dedicate my time to something, it needs to make me happy. When I was younger, I’d watch a movie and think, “I’m supposed to be in a Paul Thomas Anderson film,” or “I’m supposed to be in a Wong Kar Wai movie.” But as I’ve gotten older, I’ve let go of that ego. I realised—maybe I’m just supposed to be me, and that will resonate somewhere. And if it does, great. If it doesn’t, I’ll still continue to be that person.
So your other priorities—like your sense of ego—have shifted a bit in recent years?
Yeah, I’d say so. I think the last few years have really humbled me. As I’ve grown older and gone through some personal things, I’ve realised how much of my energy used to go into chasing the audience of thousands. I was so focused on legacy, on doing something meaningful, on leaving a mark. Then I got to therapy and kind of realised—why was I so obsessed with the audience of thousands? What was wrong with the audience of three? What’s wrong with meaning something to the people who mean the most to you? And once I landed on that, I’ve been really okay with it ever since.
coat. Louis Vuitton
t-shirt. Paly Hollywood
trousers. Stylist’s Own
boots. Talent’s Own
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knit tank. ZANKOV
shirt (on chair). Aknvas
jeans. Agol
coat. Louis Vuitton
t-shirt. Paly Hollywood
trousers. Stylist’s Own
boots. Talent’s Own
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shirt (on chair). Aknvas
jeans. Agol
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As an actor of Chinese and Irish descent, how do you navigate representation and identity in the industry? Do you feel like the landscape is shifting meaningfully—or maybe not so much?
Thankfully, there aren’t that many Chinese-Irish-Australian actors out there, so if someone’s looking for one, I’ll probably be one of the first phone calls. (laughs) But seriously, the story of representation is a complicated one. I can’t control whether people identify with me or not. Maybe Australians do. Maybe Chinese people do. Maybe Irish people do—or maybe none of them do. Maybe mixed-race people see themselves in me—or maybe they don’t. Representation, at its core, is really about commonality. It’s about seeing something in someone else that reflects something in you. I might be representing people who don’t look like me at all, but if I’ve shown up authentically, and that somehow gave someone visibility or validation—then I’ve done my part. I’m passionate about the Asian community, the third-culture community, the Australian community… even communities I’m not necessarily a part of. But the most important thing is being authentic.
You hinted earlier at how hard it is to even talk about representation nowadays. Were you going to say more about that?
Yeah… It’s really hard to have a conversation these days—about anything. It sucks that people who don’t agree can’t even talk to each other anymore. The hope, to me, is the ability to break bread. I know I’m speaking vaguely, but it’s hard to be specific because the problem is systemic. It’s cultural. It’s that we don’t even agree on facts anymore. Everyone picks and chooses where they get their information from—whether it’s cultural, scientific, medical, political.
So when we use words like “diversity” or “representation,” they mean different things to different people. That makes it impossible to have a sincere conversation. I just wish we could all gather at one table and start with a shared language or some rhetorical common ground. Then we could actually go somewhere with these conversations.
Because right now, if I say “inclusion,” someone else might say “reverse racism.” If I say “representation,” someone else might say, “Well, only 1.4% of that ethnicity exists in this country—why should they be overrepresented?” But 1.4% isn’t zero. It still matters. The fact that these words trigger so many different interpretations shows how difficult it’s become to talk meaningfully about these things.
You’ve worked across continents—from the US to Australia. Do you notice any major differences in storytelling cultures or production environments?
(laughs) You’re trying to get me in trouble. I think it’s great that production is global now. The pandemic and the strikes forced a lot of lateral thinking, which ended up creating more jobs around the world. That’s a good thing. Eventually, I think it’ll lead to a more democratic approach to storytelling. But for now, the US is still far and away the number one when it comes to production. Maybe the UK or Europe is a close second.
I haven’t worked in India or China or Nigeria, so I can’t speak to those industries. But based on my experience, American-run productions have always been the benchmark. That said, I love working in other countries. South African crews, Australian crews, Irish crews—I’ve worked with so many brilliant teams. The culture in each place influences the work in exciting ways. In the US, it’s very much “live to work.” Everything revolves around work. In other countries, like, I’ve worked somewhere where I couldn’t reach anyone from Friday night to Monday morning. They just don’t answer work emails on weekends. (laughs) It just differs. Every place has its own rhythm.
Yeah, I think the US still leads the way, but that doesn’t mean other countries aren’t doing incredible things too.
Totally. And if we wanted to get into the deeper reasons why the US holds that top spot—well, that’s where history and capitalism come into play. The US rewards effort. When you give 100%, the system is designed to give back to you in some way. And that’s part of why it thrives.
sweater + button down. Polo Ralph Lauren
jacket + trousers. Dolce & Gabbana
tie. Louis Vuitton
sweater + button down. Polo Ralph Lauren
jacket + trousers. Dolce & Gabbana
tie. Louis Vuitton
“The world is little, people are little, human life is little. There is only one big thing – desire.” Willa Cather
When looking for inspiration for 48th issue, there was an aspect of creativity which we realised we rarely look at: the initial spark. What moves us, what inspires us and what pushes us to act? At the heart of it all is desire. It’s the inspiration that compels us to create; that sensation of longing for something, the idea which is at the inception of it all. That, dear readers, was the starting point to our issue – the dynamic energy behind all our greatest actions in life.
Desire can be interpreted in multiple ways, as we learnt when we asked our collaborators to embody and represent what the act of desiring was for them. It’s a philosophical question that opens us up to the multiplicity of experiences of human life. From mind and creativity to body and beauty, from concrete IRL love to spiritual longing: desire moves us in many ways.
We start with cover star Emma Myers, captured by Cameron Postforoosh in CHANEL. An example that dreams really can come true, Myers tells us how her childhood obsessions were realised, from working with hero Jack Black and starring in ‘A Minecraft Movie’ to being immortalised as a LEGO mini figure. Meanwhile, model and content creator Calum Harper is soon set to achieve his childhood ambition of becoming an actor, and Stephanie Suganami shares her excitement about her first feature film ‘Opus’.
Accomplished actor Jason Isaacs recounts how he coveted a role in ‘The White Lotus’ and why “having an interesting time at work”, such as in his latest film ‘The Salt Path’, is more important to him than career goals. The desire to weave stories seems to be a common theme; Alicia Von Rittberg entrances in Fendi, as she contemplates her character’s true motivations in ‘Dinner for Five – Killer for One’. Wunmi Mosaku stuns in Pandora, while telling us why discovering new characters, worlds and genres motivates her, including horror film ‘Sinners’. Meanwhile, Zoë Bleu Sidel talks us through making Luc Besson’s ‘Dracula: A Love Tale’ and why it’s less about horror than about a love and longing that transcends lifetimes.
But weaving stories spills into many disciplines. Actor, artist and musician Booboo Stewart explains how art addresses his yearning for greater self-understanding. Kelly McCormacklongs for a way back to the truth, which she finds through music. She also tells us what drew her to her new film ‘Sorry, Baby’. Michael Cimino wants to up his game and resonate with audiences through his upcoming music and screen projects “Until Dawn” and “Motorheads”.
Dressed in Louis Vuitton, recording artist, DJ and producer Badchieff tells us how he explores themes of desire and loss. Summer Walker reveals why she’s ready to start a fresh chapter and explore new themes and genres in her music. Both talk us through their new albums.
The multi-faceted Jameela Jamil aims to put “uplifting and positive content out into the world” with movies such as Pixar’s ‘Elio’, while staying true to herself and embracing her imperfections. On the set of a Miu Miu special, author, entrepreneur and sustainability advocate Kiara Nirghin shares why she strives for a future where technology and AI are used for the greater good.
Fashion and desire have long gone hand in hand. In Paris, we shoot the H&M Studio Resort Capsule Collection against the iconic skyline and explore the dynamic energy of movement with the Fall 2025 Collection’s Lifestyle Capsule from Dior Men. In Milan, meanwhile, we enter an ‘Alice in Wonderland’ style universe, with the DEDAR Milano x Westwing collection.
Falling in love with life, exploring new dreams, letting yourself be inspired, opening yourself up to new possibilities; these are just some of the sensations we’d like to conjure within these pages. We hope you’re as inspired as we were making this issue.
