Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons. Photography / Christer Lundahl.
Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons. Photography / Christer Lundahl.
Credits
Within the ancestral surroundings of Steinway & Sons’ piano showroom, workshop and studios an atmospheric and wholly unfamiliar experience lay in wait for a lucky half-a-dozen at a time.
In a darkened room, a pair of hands are illuminated as they rest over a piano keyboard, ready to fill the space with the sounds of Ligeti’s Étude, ‘Pour Irina’. Six grand pianos surround this individual, each with their own artiste ready to embark on an intimate psycho-acoustic journey as unseen hands guide their own.
Created by artists Christer Lundahl, Martina Seitl and experimental pianist Cassie Yukawa, in conjunction with Montblanc Cultural Foundation, NOMAD and the Arts Council, this curious work immerses the viewer in a synaesthetic story, exploring memory, perception and timelessness.
Bringing together the works of Bach and Ligeti who lived nearly three-hundred years apart, this installation for iconic piano-makers Steinway & Sons turns the viewer into the protagonist – much like the journalist W.T. Stead, who foretold his own death on the Titanic. Writing as a young man, British-born Stead detailed his dramatic demise on a transatlantic liner which shipwrecked without enough lifeboats; twenty-seven years later his story came true as he boarded the ‘unsinkable’ ship.
Perusing the structure of sound, feeling, movement and space, Lundahl&Seitl and Cassie Yukawa’s ‘The Memory of W.T. Stead’ expands on their 2009 collaboration ‘Symphony of a Missing Room’ which placed visitors on a bizarre museum tour, guiding them through the history of art and both imaginary and actual architecture in the museum. Renowned for transforming their viewers into the content of their installations, Lundahl&Seitl’s alliance with Yukawa who has explored visual art, fashion, yoga, science and choreography through her projects once again push the boundaries of perception, which of course NOMAD was happy to support.
Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons.
Lundahl&Seitl Cassie Yukawa The Memory of W T Stead Commissioned by NOMAD and Montblanc with support from Steinway & Sons.
Credits
‘The Memory of W.T. Stead’ runs from 25th March – 6th April 2013 at Steinway Hall, 44 Marylebone Lane. For more information visit www.nomad.org.uk
Words / Roxanne Golding Follow her on Twitter @RoxanneGolding
LONDON, ENGLAND – JULY 11: (EDITORIAL USE ONLY) Summer Walker performs onstage during Wireless Festival at Finsbury Park on July 11, 2025 in London, England. (Photo by Joseph Okpako/WireImage)
LONDON, ENGLAND – JULY 11: (EDITORIAL USE ONLY) Summer Walker performs onstage during Wireless Festival at Finsbury Park on July 11, 2025 in London, England. (Photo by Joseph Okpako/WireImage)
Credits
LA-based design studioSee You Later have an impressive track record of bringing music to life on stage. Having worked with Sabrina Carpenter on tour, Bad Bunny on his SNL performance and Doechii at the Grammy’s, they combine art, culture and architecture to channel the sound of an artist into an immersive visual experience. Bringing concepts to life through theatre and world building is their speciality, and this summer they collaborated with Schön! issue 45 digital cover star Summer Walker on her Wireless Festival 2025 show in London. Walker played night one of Drake’s Wireless takeover, an evening dedicated entirely to R&B. The set was futuristic and feminine, filled with icy metallics and cotton candy pinks, while playing into retro elements of the tech aesthetic. Schön! caught up with the creative minds behind the show’s intergalactic set design Darrius Medina, the show designer from See You Later, and Harriet Cuddeford, the show’s creative director, to learn exactly how Walker’s Wireless festival set came to be.
How do you both go about creating a set?
HC: We look at shapes, textures and architectural references to start to build a palette that can inspire the design. We send this to the artist for their input, then we start iterating. It’s a very creative process but concurrently there are so many practical things to take into account. We always need to consider how can the stage be the canvas for the story that we’re collectively trying to tell and for the moments we want to create. Then you have all the logistical things to consider: space available on stage, backstage, how it breaks apart, how long you have to get it on and off, how many trucks you can take to carry it to and from shows. Also, budget!
Do you get given a brief or are you given free range on the creative direction?
DM: It depends on the artist. Sometimes they come to us with a clear idea or rough concept, but more often, it’s just a feeling, a mood, or a fragment of a visual. Our job is to extract that out of them. Knowing how to ask the right questions, sense what they’re drawn to, and how to build a world around it. We act as translators, shaping emotions and ideas into something tangible on stage. The best work comes when the artist is involved. At the end of the day, it’s their show and story we’re helping tell, not ours.
What was on the mood board when you began designing Summer Walker’s set?
HC: Barbarella, Space Odyssey, Grace Jones, the architect Matti Surrounen, Mugler and lots of ’50s to ’90s space movies plus retro future architecture.
Did Summer collaborate on any of the elements, or was the creative vision mainly your own?
HC: Summer absolutely collaborated. She gave the initial brief of feeling inspired by an Instagram account called Chaos Dreamland, a kitsch retro future account. We interpreted this into lots of references, ideas and designs. We proposed a few narratives and Summer felt excited by the idea of an intergalactic adventure to find love, having exhausted all her options of men on earth.
Summer was also very clear about wanting to create lots of visuals which were live action. This was very ambitious in the timeline we had but we had her director, Lacey, working with us and we went hard to try and get it done in time. Summer is very fun and she really wanted to push to the max all the kitsch tongue-in-cheek ideas. We had this reference of the Austin Powers spark boobs and Summer was the one who wanted to do it for real on stage. It is an absolute vibe to work with an artist who truly wants to go for it and is committed to creating a show with high production value.
Is there anything you tried to take into account for the Wireless stage and a festival crowd in particular?
HC: The Wireless fans have given Summer a lot of love in the past so she really wanted to deliver something special for them, spend the $$$, time and energy on creating something engaging and entertaining.
DM: With festivals like Wireless, you’re designing for both scale and speed. We had less than 30 minutes to get everything in place. Including setting the staging, lighting, atmosphere, sfx. So every element had to be modular, efficient, and still visually impactful. Creating something that felt elevated, cinematic, and intentional under those constraints takes experience. You don’t just design a beautiful set, you design for time, pressure, and a massive outdoor crowd.
What about some of the special appearances in the videos that appeared on screen, like content creator Aaliyah’s Interlude. What was the vibe you were going for casting-wise?
HC: This was all Summer! Keke Palmer did the voiceover which was amazing.
DM: Summer and her director Lacey knew exactly what they wanted with interludes of the show and did an amazing job tying it all together.
Can you share any challenges you had, if any, when bringing this concept to life?
HC: Logistically, we had two challenges. Creating shows for daylight is not easy, especially when they are themed around space! We would have loved to go wild with lighting and lasers but instead really focused on visuals as this is something which translates in day time. Two, Drake’s set was massive and there were restrictions on space and rigging we could have, but we did our best within the parameters.
DM: Time was definitely a big challenge. We had about two weeks after the shoot to pull everything together with rehearsals starting in London just a week before the show. A lot of the process happened in real time. Building, tweaking, and reworking as we watched the choreography, heard the band live, and saw the lighting and visuals come together in the space.
photography. Getty Images + Courtesy of Wireless Festival
words. Shama Nasinde
shirt. Jacquemus
trousers. BALLY
boots. Jimmy Choo
shirt. Jacquemus
trousers. BALLY
boots. Jimmy Choo
Credits
For Harry Richardson, the first taste of performing magic came wrapped in a snowman costume. “When my pillow fell out from under my shirt I said, ‘Oh no I’ve melted,’” he recalls of a preschool play. “I think it was the best audience reaction I’ve ever had and I’ve been chasing that dragon ever since.” That early spark lit the path for an actor now best known for his role as Larry Russell in HBO’s ‘The Gilded Age’, a character as buttoned-up as he is quietly rebellious. But Richardson’s career has been anything but rigid. His evolution as an actor mirrors the kind of roles he gravitates toward. As Larry, he brings nuance to a man pulled between his elite upbringing and his own desire to forge a new path during a season where audiences see him growing up.
Schön! chats with Harry Richardson to discuss his earliest acting beginnings, portraying Larry in ‘The Gilded Age,’ and more.
What first drew you to acting, and at what moment did you realize it could be more than just a passion?
My first role [that] I remember was playing the snowman in a school production of the same name at age four. When my pillow fell out from under my shirt, I said, “Oh no, I’ve melted.” I think it was the best audience reaction I’ve ever had, and I’ve been chasing that dragon ever since.
What was the turning point when you knew acting wasn’t just a dream but something you were truly going to pursue?
In high school, I played Henry in an adaptation of Shakespeare’s ‘Henry IV’ and ‘V’ set in a skatepark. I remember Arcade Fire’s “Wake Up” was the closing song, and I felt a clarity doing those shows that I wanted to do a lot more of this.
How has your approach to character development evolved from your early roles to now?
I think as a young actor, I always wanted to escape myself, and now I’m more interested in finding out more of who I am in relation to other beings.
What kinds of stories or characters are you drawn to at this point in your career—and why?
Right now, I’m drawn to kind humans who embark on adventure, lead with love and a passion for life. Art is meditation that begs the question, what do you want to consume and what do you want to create?
shirt. Carlos Pineda
opposite
sweater. Our Legacy
trousers. Bellstaff
shirt. Carlos Pineda
opposite
sweater. Our Legacy
trousers. Bellstaff
Credits
What initially attracted you to ‘The Gilded Age’, and how did you prepare for the role of Larry Russell?
The time period is resplendent and I was intrigued to adventure to that era of New York, especially as so few films or shows have explored it. I prepared for the role of Larry by consuming a lot of information via books and documentaries about the time, and we also had an etiquette BootCamp, which was very helpful.
Larry Russell is both a product of his elite upbringing and someone trying to carve his own identity. How do you balance those opposing forces in your performance?
I think Larry has been rejecting his parental influence for the last few years, but this season he seems to be finding more of his parents’ energy running through his being. He still wants to embark on his own business and romantic path, but the apple doesn’t fall too far from the tree.
In what ways do you think Larry changes from season to season? What’s been the most pivotal moment for him so far?
In the first and second seasons, we see Larry fighting against his parents to become an architect and date someone his mother didn’t approve of. This season, we see him growing up and making his own choices, not looking for approval or defiance, but moving with his own confidence, heart and business skills. I think his first heartbreak was pivotal for his growth, as it is for most of us.
Are there aspects of Larry’s journey that have surprised you as the series has progressed?
I was pleasantly surprised to see Larry’s complexity develop this year. His trip to the haymarket was particularly spicy.
opposite
shirt. Jacquemus
opposite
shirt. Jacquemus
Credits
What has ‘The Gilded Age’ taught you about collaboration, both with fellow actors and with the creative team?
Everyone involved on this production is so kind and phenomenally talented in all departments, so I have learnt a lot about how the whole unit comes together with such strengths to make something truly special. I learn to listen as much as possible because there is so much experience collectively behind this project.
Costume plays a big role in the show’s identity. How do the clothes affect your understanding or embodiment of Larry?
The costumes are exquisite, hand-made with such beautiful details and structure. I think this adds to the intentionality of Larry as well as his poise and manners. I find my brain chemistry changes even off camera when I’m wearing these beautiful suits.
Are there any behind-the-scenes moments or challenges you found especially memorable or meaningful during filming?
I loved working with Ben this season because we’re such good friends, it just felt like an epic gift to hang out and riff together on an awesome story arc.
How has being part of ‘The Gilded Age’ influenced your view of storytelling, or even your goals as an actor?
The show has taught me the power of world-building. There are so many wonderful characters and historical details, so the stories build in many directions at once. I love that multifaceted style, many working as one. Perhaps a goal of mine would be to try my hand at the opposite, an individual character on a personal journey.
If you could manifest something for yourself this year, what would it be?
I would love to manifest projects involving great adventure and vibration. Also for love to come for everyone.
Adrian Meronk of Cleeks GC, Captain Martin Kaymer of Cleeks GC, Richard Bland of Cleeks GC and Frederik Kjettrup of Cleeks GC is seen on the putting green during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Adrian Meronk of Cleeks GC, Captain Martin Kaymer of Cleeks GC, Richard Bland of Cleeks GC and Frederik Kjettrup of Cleeks GC is seen on the putting green during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Credits
Golf may be an emblem of tradition but Cleeks Golf Club are rewriting what you think the sport represents. The team is an international mix of talent like Brit Richard Bland, Danish Frederik Kjettrup, Poland’s Adrian Meronk and German team captain and two-time major champion Martin Kaymer. Schön! spent some time with the players at Real Club Valderrama during LIV Golf Andalucía to discover their vision for bridging the world of golf with arts and culture.
Frederik Kjettrup of Cleeks GC is seen on the putting green during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Frederik Kjettrup of Cleeks GC is seen on the putting green during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Credits
How exactly you rework such a deep rooted image is in the hands of Cleeks Golf Club’s general manager Jonas Mårtensson whose background as the former CEO of video game Minecraft brings an element of world building needed to grow the brand beyond the sport and into the worlds of art, culture and music. “We want to honour the legacy of golf but we also want to be part of this new era and invite new people and new audiences to golf an make it more exciting,” said Mårtensson in an interview.
Adrian Meronk of Cleeks GC and Captain Martin Kaymer of Cleeks GC poses for a photo during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Adrian Meronk of Cleeks GC and Captain Martin Kaymer of Cleeks GC poses for a photo during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Credits
“We want to be a little different to the other teams,” adds captain Kaymer. “So we’re focused on arts and fashion at the moment and I think we’re going to add music at one stage.” Their merch, which at the time was designed by Brooklyn based Public Drip, has a luxurious and minimalist touch to it, making the team stand out on the course. “It’s a combination of traditional stuff but also modernised and cool. It’s functional as well,” says Kaymer, welcoming the opportunity to transcend spaces. “I never worked with an artist before. I never had a collab with a different fashion company. I signed my deal with Hugo Boss for 10, 12 years and I was very proud and happy to have Hugo Boss as a partner. Now we do all different kinds of stuff which is quite nice to do.”
Captain Martin Kaymer of Cleeks GC poses for a photo during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Captain Martin Kaymer of Cleeks GC poses for a photo during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Credits
Their expansion from golf to lifestyle is rooted in collaboration, like with Swedish artist Jacob Felländer who worked with Cleeks Golf Club on their newest t-shirt drop. “It feels like there is a connection between the golf world and the art world. Art has more structure than it appears to have and golf has more creativity than it appears to have,” Felländer says on the parallels between the two. “It’s seeing something and then having the skill to make it happen. Although, one difference in golf, it’s very goal oriented whereas art is more open to end up in a place that you haven’t been before.” Bringing creative flair to an age old sport not only make Cleeks Golf Club a forerunner in golf’s lifestyle crossover, but it’s also a gateway to elevating its relevance across fashion and culture.
Adrian Meronk of Cleeks GC, Captain Martin Kaymer of Cleeks GC, Richard Bland of Cleeks GC and Frederik Kjettrup of Cleeks GC is seen on the putting green during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Adrian Meronk of Cleeks GC, Captain Martin Kaymer of Cleeks GC, Richard Bland of Cleeks GC and Frederik Kjettrup of Cleeks GC is seen on the putting green during the practice round before the start of LIV Golf AndalucÌa at Real Club Valderrama on Tuesday, July 08, 2025 in San Roque, Spain. (Photo by Jon Ferrey/LIV Golf)
Credits
photography. Jon Ferry/LIV Golf
words. Shama Nasinde