where light rests | Schön! Magazine

black ruffle dress. YAKUSHA
maxi dress. CHIMI

Can you feel the light on your face? In this Schön! editorial, photographer Peter Olsson seeks out the light with fashion by Mili Malinovic who dresses model Nike Praesto in looks by Prada, CHIMI, Miranda Berg and more, with hair by stylist Linnéa Hellbom and make up by artist Adam Elias.

wool coat. Emily Agnes
tulle maxi dress. COS ATELIER
swimsuit. TOTEME
opposite
dress. Miranda Berg
virón monarch shoes. Collina Strada

asymmetrical top. Emily Agnes
sheer oversize dress. DAVII
leather patched hat. Robin Paulie
opposite
over neoprene jacket. DAVII
lace skirt. Prada
asymmetrical skirt. COS ATELIER
ellis knit sock boots. RAG & BONE
stockings. Wolford

jacket. Tim Bunwassana
dress. HOPE
opposite
lace maxi dress. BCBG Max Azria
corset. Nana Lybeck

top. -ISM* by Samantha Esfandiari
oni top. Soda Lingerie
crinoline skirt. LEONI
hat. Vintage
gloves. Thierry Mugler
opposite
cropped blazer. STHLM.MISC
skirt. REMAKE STHLM
boots. Rick Owens

sheer lace blouse. Red Valentino
ruffed mini skirt. Julia Weström
knitted flare tights. Miu Miu
opposite
asymmetrical sleeve dress. The Attico
bat pearl corset. Vanessa Baernthol
boot trousers. Sofia Ilmonen
gloves. The Row + Thierry Mugler

full look. Emma Carling
opposite
full look. Emma Carling

pleated dress. DAVII
feathered hood. COS ATELIER
opposite
blazer. Givenchy
trousers. STHLM.MISC
shoes. Julia Weström
headscarf. YAKUSHA
stockings. Wolford

dress. SOFIA ERICSON
shoes. TOTEME
stockings. Swedish Stockings
opposite
blazer. Givenchy
headscarf. YAKUSHA

leather bra. Thierry Mugler
leather skirt. Saveja Awzel
shoes. Prada
hooded scarf. Vintage
gloves. The Row

This Schön! editorial has been produced by

photography. Peter Olsson
fashion. Mili Malinovic
model. Nike Praesto @ MIKAS
hair. Linnéa Hellbom @ MIKAS LOOKS
make up. Adam Elias
retouch. Jim Widgren
photography assistant. Oskar Borin
fashion assistants. Olivia Lysell + Kristine Pavlovicha

full look. Valentino

Swept through time on the current of music, Zoë Bleu finds reflections of herself in the characters she embodies — gathering fragments of identity, drifting from dreams into a life steeped in enchantment. We find her strutting the streets while wearing Valentino when we speak to her for her digital cover story for Schön! 48, where she opens up about her character, Elisabeta, her 15th-century role in the upcoming film ‘Dracula: A Love Tale’. “She knows what she wants. She gets what she wants when she wants it,” Sidel says. She’s a princess, but she acts like a queen. She’s got a regal, kind of bitchy presence,” she jests. “The clothes really bring the role to life. I have a beautiful velvet dress encrusted with pearls, and it makes the bosom look amazing. Everything is covered, but it’s done in such a way that you can see that she’s sensual.”

Inspired in part by Francis Ford Coppola’s 1992 interpretation of Bram Stoker’s Dracula, French director Luc Besson’s Dracula: A Love Tale reimagines the legend through the lens of eternal love and reincarnation. “The very classical, historical way of thinking about ‘Dracula’ is ‘I’m going to suck your blood,’ and ‘You are mine,’ but that’s not this Dracula. It’s really something else; it’s a love story, not a horror film. It’s like ‘Romeo and Juliet’,” Sidel explains.

In Besson’s telling, both Elisabeta and Mina—the dual characters portrayed by Sidel—share an everlasting connection with Dracula, played by Caleb Landry Jones. This bond transcends time and identity. Sidel calls it “soul love.” To cultivate this depth of emotion on screen, Sidel and Landry Jones engaged in Butoh, a distinct form of avant-garde dance theatre marked by deliberate, expressive motion and inward emotional focus. “It was interesting to try and create a friendship through dance and music,” Sidel says. This nonverbal approach offered a profound avenue for connection, grounded in emotion and presence.

Another technique they used to sync emotionally was simultaneous music listening. This shared experience became particularly important for anchoring pivotal scenes. A recurring lullaby, for example, acts as a sonic thread linking Elisabeta with Mina — bridging centuries through melody. “My music project L’ESPIRAL was heavily impacted,” she continues. “I’ve made four of those [poems] into songs that I’m going to record this summer.”

Sidel sees a rhythmic logic in existence itself: “Everything is music, isn’t it? All of existence has a vibrational frequency; that’s music. Love is a frequency; it’s music. Like star-crossed lovers, a world begins between these two souls, these two people fall in love. And there is a music to it.”