jacket. Camila and Marc
dress. Puey Quinones
boots. Dr. Martens
opposite
top. J.ING
trousers. Epuzer
hat. Sensi Studio
jacket. Camila and Marc
dress. Puey Quinones
boots. Dr. Martens
opposite
top. J.ING
trousers. Epuzer
hat. Sensi Studio
Credits
Tati Gabrielle is ‘that’ witch, on and off screen. Whether in a post-apocalyptic, dystopian setting or showing off her bewitching magical prowess, you’re bound to fall under this actor’s spells.
Born in the San Francisco Bay Area to an African American father and a Korean mother, 23-year-old Tatiana Gabrielle Hobson (best known as Tati Gabrielle) was initially torn between becoming an actor or a criminal profiler. “When you’re studying a character, you’re basically studying the psychology of this person,” she explains. “You do the same thing when you’re a criminal profiler.”
At age nine, Gabrielle landed her first role as Lemony Snicket in a school rendition of A Series of Unfortunate Events, but it was at 18 that any career indecision began to dissipate. While studying at the aptly named Spelman College in Atlanta, she took the biggest leap of faith of her life: “I had gotten really depressed. I wanted to take some time off to think back and find something that fulfilled me, so I left school to go to L.A.” That’s when it all started, and the City of Angels has been treating her well ever since, with leading roles in The CW’s The 100 and Netflix’s Chilling Adventures of Sabrina — Roberto Aguirre-Sacasa’s sister series to the hit Riverdale. As the scene-stealing, sardonic Prudence Night, one third – and de facto leader – of the Weird Sisters, Gabrielle has been enchanting viewers globally.
At first glance, the actor is perhaps most recognisable for her badass blonde buzz cut, a hairstyle she’s been sporting since The 100’s fifth season — prompted by the series’ six-year jump — but that was entirely her choice. “Shaving my hair off felt liberating,” she reveals. “It boosted my confidence and self-esteem. There’s nothing for me to hide behind anymore. I have to appreciate the natural beauty I have.”
In fact, after rocking it in her CAOS audition, the hairstyle has now become a fixture in the series — though that’s pretty much the only thing actor and character have in common. From the first uttered word, it’s glaringly obvious that Gabrielle’s infectiously bubbly personality is a far cry from Prudence. In fact, Gabrielle admits she “is the character that I am least like”, which makes her natural performance in the role all the more admirable.
“People see Prudence as a bitch. The hardest part about portraying her was finding the reasoning behind that pent-up rage,” Gabrielle recalls. “I didn’t want to make her two-dimensional. I do believe that everyone has method to madness, that something has happened in their life that’s made them bitter and cold.”
In contrast, Gabrielle admits she feels “much closer to” Gaia, her character on The 100, for her peacemaking and faithful ways, but adds that the two characters represent her “spectrum”. Although Gaia is similar to her in real life and Prudence “the complete opposite”, at heart, they are two sides of the same coin: “They have a very strong spirit and are both headstrong women that never back down from their beliefs.”
Kaytranada’s sold-out show at London’s Alexandra Palace on April 26 was nothing short of a full-bodied experience. From the moment the lights dimmed and the first track dropped, it was clear that the crowd were locked in for a good time. Kicking off with ‘Pressure’ from his latest album ‘Timeless’, Kaytranada immediately set the tone for what was to come.
Between songs, the Canadian producer kept the atmosphere relaxed. There was no ego, just a DJ vibing with the crowd. As a spectator, you become part of Kaytranada’s journey for the night with the audience feeding off his infectious energy. Halfway through, the show shifted gears to some classic remixes. When his take on Beyonce’s ‘Break My Soul’ and Rihanna’s ‘Kiss It Better’ dropped, the crowd naturally went wild. Familiar pop songs feel fresh in his hands, transformed into a bass-driven tracks that keep everyone moving.
Visually, the production is simple but on point. Strobes flash in sync with the music, amplifying the energy and adding to the overall atmosphere. It’s almost too easy to get lost in the dance. Kaytranada is ever-present behind his setup with a glass of wine propped on a stand of its own, looking as though he’s having as much fun as the crowd—maybe even more so.
Kaytranada’s live performances are a testament to his ability to elevate his already incredible studio work. By the time ‘Be Your Girl’ rings through the speakers, the night is at its peak. The energy in the room is contagious, becoming the kind of show where time disappears. By the finale, it felt as if the evening had passed in minutes rather than hours.
all clothing. Burberry
belt. Anderson’s
boots. Manolo Blahnik
all clothing. Burberry
belt. Anderson’s
boots. Manolo Blahnik
Credits
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
Credits
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
Credits
all clothing. Edward Sexton
shoes. Harrys of London
opposite
full look. ZEGNA
all clothing. Edward Sexton
shoes. Harrys of London
opposite
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.
jacket. Polo Ralph Lauren
tank top. Calvin Klein
opposite
jacket. Polo Ralph Lauren
tank top. Calvin Klein
jacket. Polo Ralph Lauren
tank top. Calvin Klein
opposite
jacket. Polo Ralph Lauren
tank top. Calvin Klein
Credits
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
opposite
knit tank. ZANKOV
shirt (on chair). Aknvas
jeans. Agol
coat. Louis Vuitton
t-shirt. Paly Hollywood
trousers. Stylist’s Own
boots. Talent’s Own
opposite
knit tank. ZANKOV
shirt (on chair). Aknvas
jeans. Agol
Credits
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
