From The Weeknd’s 2016 “False Alarm” music video to her breakout roles in last year’s Apostle and Sierra Burgess Is a Loser, Kristine Froseth’s film and TV projects have amassed huge popularity – and her new ones look set to follow suit. This year alone, the Norwegian-American actress starred in Low Tide, Prey and Netflix’s The Society, which will return for a sophomore season in 2020. But it’s Hulu’s long-awaited Looking for Alaskathat is most special to the 23-year-old actress.
Set in 2005 and based on John Green’s beloved novel, Looking for Alaska follows the story of Miles Halter (a.k.a. Pudge), whose life is changed forever after meeting the enigmatic Alaska Young at Culver Creek Prep in Alabama. Through friendship, pain, love and grief (and following François Rabelais’s last words) the characters in the book seek “a great perhaps.” Froseth definitely found her own in Alaska Young.
First scouted as a model, Froseth’s sights were set on the fashion industry (where she still has a pretty impressive foothold as a CHANEL ambassador) until the role of Alaska came along four years ago. She embarked on her “first-ever audition” and was fully immersed in casting calls and chemistry reads for months thereafter, but the project – originally planned as a movie – never came to fruition. “I was so heartbroken,” Froseth recalls. “I just fricking loved the novel. I loved John Green. I loved Alaska. I kept checking in every year and, luckily, it came back around.”
Adapted by The O.C. and Gossip Girl’s Josh Schwartz and Stephanie Savage, the final product has been 14 years in the making and the eight-part series is also more than a full-circle experience for Froseth, who couldn’t be better prepared. After falling in love with the novel in high school, she re-read it “a couple of times” in her late teens preparing for the ill-fated movie and thrice again since 2018 when the pilot was ordered.
Still, bringing John Green’s debut from paper to screen was no small feat and, like her re-reads, the pressure on Froseth kept building.
Discover the full editorial and interview in Schön! 37
Ivana Batakovic has always believed that fashion goes beyond clothing — it’s a language of confidence, strength, and individuality. As the founder and creative director of Batakovic Belgrade, she has built a brand that embodies this philosophy, blending sharp tailoring with effortless femininity to create garments that make an impression without the need for words.
Her journey into fashion started with an obsession: textiles. Before launching her brand, Batakovic worked closely with some of the finest luxury fabrics in the world, understanding their nuances and how they interact with movement and form. But working within the industry wasn’t enough — she wanted to shape her own vision. “My goal is not to dress a woman but to give her something she feels unstoppable in,” she explains.
The DNA of Batakovic Belgrade is deeply connected to its namesake city. “Belgrade is not just a place on a map; it’s an attitude,” Batakovic says. “My brand carries that bold, unapologetic elegance to the world.”
This duality is evident in her designs, which take inspiration from classic menswear tailoring but reinterpreted through a feminine lens. “I love playing with contrasts — masculine tailoring meets delicate draping, structured fabrics flow into soft silhouettes,” she says. The results are timeless pieces that empower the women who wear them.
Batakovic’s Spring/Summer 2025 collection proves just how true this statement is. Statuary silhouettes, pronounced shoulders and a lot of attitude. At the same time, a soft neutral palette contrasts with the structured designs, striking a perfect balance between masculine precision and feminine fluidity.
The brand’s journey began with Batakovic’s fascination with textiles. Initially focused on sourcing the world’s most refined fabrics, she soon realised she wanted to shape the very garments that define modern luxury. “I don’t design for the moment; I design for the memory,” she explains, emphasising her commitment to longevity over fleeting trends. This philosophy translates into garments designed to last, both in quality and aesthetic relevance.
While outerwear remains central to Batakovic Belgrade, the brand is expanding into accessories and complementary categories, building what she envisions as a fully realized Batakovic universe.
“Batakovic Belgrade is the perfect balance — precision of masculine tailoring and the effortless grace of femininity. That’s what makes it irresistible.”
top + skirt. You Wanna @ TATA LA
shoes. HAVVA
gloves. Bundi Store
opposite
jacket. Harbison
necklace + ring. COS
top + skirt. You Wanna @ TATA LA
shoes. HAVVA
gloves. Bundi Store
opposite
jacket. Harbison
necklace + ring. COS
Credits
“But I think sometimes you have to be a little insane,” says Australian actress and singer Aisha Dee as she explains having a “pie-in-the-sky thought” about becoming an actor at a young age despite not having any connection to the industry. Best known for playing Kat Edison on Freeform’s comedy drama ‘The Bold Type’, Dee has captivated audiences with her sharp wit, undeniable charm, and authentic voice across various projects exploring themes around social media, surveillance, and information overload, to name a few. But it is Dee’s latest role as Chanelle in Netflix’s ‘Apple Cider Vinegar‘ that truly highlights her depth. Especially in a series where appearances reign supreme, and the obsession with identity reinvention is matched only by the art of deception. Throw in the fact the show was inspired by a true story, and surrounds a “wellness” guru and you welcome a little more insanity.
Schön! speaks with Dee about her year, her experiences as Kat and Chanelle, and her upcoming music.
bodysuit. Good American
shoes. KAUD @ TATA LA
necklace. CENDRÉ
tights. Wolford
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
bodysuit. Good American
shoes. KAUD @ TATA LA
necklace. CENDRÉ
tights. Wolford
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
Credits
How’s your year going so far?
Part of me is tired [Laughs]. Is it really going to be April? I feel we’ve established that time isn’t real [Laughs]. I feel like [this year has] been a whirlwind! Over the last few years, I’ve been going back and forth to Australia more than I used to. Initially, it was to be closer to my family, but now it’s kind of evolved into me really wanting to be there. Growing up, I didn’t always feel like I fit in, but now I’m finding a new appreciation for it. And I think it maybe took leaving and joining the circus to kind of find myself and become a bit more comfortable just occupying all of the different spaces within myself. It’s been really nice to reconnect my love for the place that I’m from.
That’s beautiful! When did you know you wanted to act?
I did [know I wanted to act] from a quite a young age – a very delusional child, I was. My favourite people are the delusional ones, honestly. A delusional adult, if you can believe it. I had this pie-in-the-sky thought that I would just be an actor and it would just work out despite not having any family connection to it or any of the resources to even get there. I think people thought I was a little bit insane, but I think sometimes you have to be a little insane. I think sometimes naivety can really be your friend when you’re trying to do something that people don’t expect or that doesn’t come easily to you.
I’ve just been kind of making it up as I go along and I kind of just have this mindset that I just want to work with really good people and enjoy a really good process. Whatever comes from that will come. I love all genres. I actually love movies and television and I just want to be a part of it. I just want to tell stories and I don’t really have any kind of limitations in my brain in terms of what it looks like.
You’ve played such a diverse range of roles. Let’s talk about ‘The Bold Type’.
‘The Bold Type’ is like the gift that keeps on giving. So many years later, people still really love that show. It’s amazing. It hit at an important time, and I think especially during the pandemic, it became this comfort show for people. It was aspirational but also predictable in a good way. It touches me that people still connect with it so much. I’ve been lucky to work across different genres, and I just love storytelling. I choose roles that I resonate with, roles that make me feel something. If I find myself feeling defensive over a character, like they’re my friend, and there is fire in my belly, then I know it’s the right one.
Do you feel that you felt that for Chanelle and how did ‘Apple Cider Vinegar’ come about?
Oh, completely. I was on holiday when I got the script. I wasn’t in the mood to read anything because I was feeling a little depressed at the time, honestly. I got a call from someone on my team who said I should give this another look. So, I gradually decided to read the first 20 pages and I was absolutely hooked. I loved Chanelle right off the bat. She was my girl and I just kind of felt immediately obsessed with the story – and also outraged at what was happening. It really spoke to something kind of beyond just the character.
Out of all the characters, Chanelle had this really strong moral compass – a really strong sense of what was right and what was wrong. And then she also had some questionable morals herself. It was layered. I loved that she wasn’t completely virtuous, but that she was still kind of fighting for what she felt was right. She had that really comfortable relationship with her outrage and anger at the whole thing. In a way, I choose characters that I think will hopefully maybe teach me something. She really taught me to be honest and to say the truth even when it’s painful or scary.
The show really taps into the overwhelming amount of health information we see today. Was that part of what resonated with you?
Absolutely! There’s so much conflicting health advice, and trying to advocate for yourself can be exhausting. The show really captures that frustration.
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
shirt + trousers. Harbison
pearl choker. Sin by Mannei
Credits
How is Chanelle similar (or different) to Kat from ‘The Bold Type’
Yeah, I actually do think that there are some very strong similarities between Kat and Chanelle for sure. There’s strength to both of them. They [both] run towards the problem and I think in terms of their trauma response or their stress response, they’re [both] fighters for sure.
Is there anything you hope viewers will take away from watching ‘Apple Cider Vinegar’?
I have lots of thoughts on this. I feel it’s such an interesting show because I don’t know if it tonally really fits anywhere. It exists in this special place. And I’m always really apprehensive to say what people should take away from it. Maybe it’s just [about] that awareness that there is a lot of empathy put out there. I do hope that people leave the show feeling empowered and also a little bit less alone if they are feeling overwhelmed. I hope they feel empowered to advocate for themselves in the health and wellness space because they’re beautiful spaces.
You also have ‘Watching You’ coming up. What can you tell us about it?
It’s an adaptation of a book, an erotic thriller with psychological elements. Honestly, I think it’s really different, especially for Australian television. It is also very different, tonally, from anything I’ve ever done. But again, you know, I like playing characters with a little fire in their belly and characters that are willing to run towards the problem. Even though my roles have been of different genres, it seems there are common threads in them of privacy, power, and control.
How did you prepare for ‘Watching You’ compared to ‘Apple Cider Vinegar’?
‘Watching You’ was physically demanding. I had to do more stunts and physical stuff than I’ve ever had to do. I’m usually a yoga and Pilates girl. But it was really fun.
Finally, ‘One More Shot’ premiered at SXSW in Austin, Texas. How was your experience in that movie?
Honestly, I had the best time filming that movie. So silly and so fun. I thought, “Oh, this character doesn’t have to cry once. Fantastic.” I think I need to do a movie where I don’t have to do traumatic stuff. So, it was a nice little breath of fresh air between these quite heavy projects. I did it for that reason because I can’t keep digging into the trenches of my trauma for my work. I need to find some lightness and happiness. Actually, it’s taught me a lot about balance and rest.
Anything else you want to tell us?
I am working on new music! I’ve actually just started collaborating with friends that work in different mediums to create something together too. So, it’s not just an audio medium, but I’m working with my friends who are visual artists as well. I’m excited. It’s nice to have a creative endeavor that exists completely outside of any construct. It’s literally just me on my laptop, usually sitting on the floor with my keyboard. So yeah, the [new music] – it’s on its way. It’ll be out.
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
top + skirt. You Wanna
gloves. Bundi Store
jacket. Studio 83
denim + belt. Izakova
boots. HAVVA
opposite
top + skirt. You Wanna
gloves. Bundi Store
Everything is balanced on an equilibrium in this Schön! editorial photographed by Robert Binda with fashion by Alice Balducci who styles Dante Kedde in looks by Givenchy, SHUSHU/TONG, SELF-PORTRAIT and others. Hair by stylist Francesco Merico with make up by artist Charlie Murray.
