horst arts + music | how artist kenza taleb vandeput connects to her roots through fabric

wearing LOEWE + Cartier

Booboo Stewart is an artist in motion. “Art is freedom. It allows me to not overthink, but let my emotions flow,” Stewart says to us, wearing LOEWE and Cartier for his Schön! 48 digital cover story. Stewart’s rise to fame began with his portrayal of Seth Clearwater in the Twilight saga, followed by a range of roles including Disney’s ‘Descendants,’ ‘X-Men: Days of Future Past,’ and ‘White Frog,’ the latter earning him a Best Actor award at San Diego’s FilmOut festival. “Acting has been my escape since I was a kid,” he shares. “It’s the first art form I fell in love with and opened my eyes to a world of creativity.”

But Stewart’s artistic expression extends far beyond acting. His creative pursuits span from gallery installations and canvas work to music production and live performances. “My parents were both so creative,” he recalls. “It felt like there was no other option but to embrace the arts in some way.” With a stunt coordinator and actor as a father and a mother who was a committed artist, creativity was deeply embedded in Stewart’s upbringing. Early memories of sketching on set with his dad and helping his mom sell artwork at local fairs shaped a lifelong relationship with art. “My drawings are a way for me to express emotions that I can’t always get out in words,” he admits.

This emotional depth formed the backbone of his debut solo exhibition, ‘Things I Don’t Know How to Talk About’, held at Park West Gallery in New York in 2023. Featuring evocative ballpoint pen sketches, the show was paired with a DJ set composed by Stewart himself, who also created art live during the event. The raw, automatic lines of his figures explored themes of vulnerability, grief, generational trauma, and love. Since then, his work has been shown in both Las Vegas and New York.

Currently, Stewart is exhibiting at Defy Gallery in Texas, where he introduced a striking plaster sculpture of a figure resting its chin on its hand, stretched across a doorway. “It’s a piece that people can walk through,” he explains. “I didn’t use any 3D modelling or measurements. It was all instinctive and I just went for it.” Like much of his work, the sculpture emerged through intuition, driven by emotional instinct rather than planning. “I sit on these tatami mats in my studio, and whatever feels right in the moment is what I go with,” he says.

His artistic style has gradually shifted — from bold, colourful pieces influenced by artists like Basquiat to intricate, spectral line drawings. His recent show, ‘Fractures: Doubt and Desire’, delved into internal struggles and the yearning for self-understanding. “Desire for me is about wanting to understand my mind [and] why I think the way I do,” he reflects. “It’s about being more aware of my feelings and learning to cope with them in a healthier way…Art gives me the greatest sense of self. There’s no external influence, it’s just me. Music, on the other hand, is this beautiful collaboration with the people that I care about.”

jumper. LOEWE
trousers. Emporio Armani
boots. Stylist’s own
hat. Akai Ito
necklace. Cartier

jumper. Rick Owens
trousers. Louis Alexander
boots. Christian Louboutin
cap. Stylist’s own
braces. Saint Laurent
rings. Cartier

jacket + jumper. Bottega Veneta
shorts. Emporio Armani
boots. Guidi
necklace. Cartier

trousers. LOEWE
belt. Bottega Veneta
jewellery. Cartier

Get your print copy of Schön! 48 at Amazon Globally, Amazon Germany, Amazon France, Amazon Italy, Amazon Spain, Amazon Netherlands, Amazon Poland, Amazon Belgium, Amazon Sweden and the UK Schön! store.

Download your favourite cover now at the Schön! store.

This Schön! 48 digital cover story is produced by

photography. Cozy @ Early Morning Riot
fashion. Douglas VanLaningham
talent. Booboo Stewart in LOEWE and Cartier 
casting. Alabama Blonde @ Strike the Blonde Casting
grooming. Colleen Dominique @ The Wall Group using R+Co + CIRCA 1970
words. Raegan Rubin

Nicolás Lamas’ solo exhibition fluid minds at Max Goelitz in Berlin channels the gallery’s foundational inquiry into the complexities of contemporaneity – what gallerist Max Goelitz calls “works that poetically traverse the intersections of our reality.” With sculptural assemblages that fuse organic and synthetic materials, Lamas constructs environments that hybridize the technological and the natural, the industrial and the intimate. These installations function as speculative archaeological sites – animated spaces where objects are not inert fetishes in display cases  but carry agency, histories, and potential futures. In this way, fluid minds proposes a post-human animism: an ontological flattening where materiality itself speaks, vibrates, and resists containment.

Lamas shares, “My practice is rooted in the idea that everything is in a state of transition, and that objects, like ideas, are constantly negotiating their meaning in relation to the context they inhabit and the materials they encounter.” The hybrid, for Lamas, is not a static synthesis but a dynamic entanglement. Meaning is always in flux, generated through shifting constellations and tactile dialogues between objects. In the exhibition, the gaze – like the body – moves fluidly across forms: a refrigerator, a hockey helmet cradling coral, a human skull, a Mac skeleton resembling an abacus, a feather, a pill. These juxtapositions friction against one another, producing ephemeral narratives of a world at the edge of sense-making.

Here, post-human animism emerges not as a fantasy but as a critical lens: objects are seen not as passive residues, but as agents in their own right – entities involved in the co-creation of meaning. This reorientation resists the capitalist logic of overproduction and obsolescence, proposing instead a countercultural archaeology for a present haunted by its own debris.

Importantly, Lamas does not impose closed systems. His process is intuitive, often site-responsive. “The process of system-making, for me, is not something that follows a strict plan or hierarchy,” he asserts. “It begins with the accumulation of materials that I find, collect, or keep in my archive, each carrying energy or history. These materials are often chosen intuitively, sometimes without knowing why, but I’m interested in their potential to establish new relationships once they come into contact with other elements.” In this sense, fluid minds embrace an animist epistemology, where intuition, affect, and contingency guide the formation of meaning.

The results are subtle yet charged. Assemblages read like fossilized glitches or interrupted experiments – time collapsing into layered strata. Geological references sit beside disassembled tech; decay mingles with design. Nothing is privileged; natural and artificial matter share equal ontological weight. Through this refusal of hierarchy, Lamas subverts linearity and authorship, offering instead a platform for collective meaning-making.

“His environments function as speculative archaeological sites,” Goelitz adds, “where materials and ideas are in constant flux.” fluid minds become a stage for a theatre of post-human animistic plays – a choreography of tension, balance and interaction, in the artist’s words. Objects and images intertwine in a shifting and fluid constellation to think of the practical and political separation between human and non-human, both intended as technology and nature. 

Nicolás Lamas’s work is on view at Max Goelitz in Berlin until July 5, 2025. Click here for more info. 

words. Ilaria Sponda

There are few places on Earth where cinema, couture, and charisma collide with such unapologetic extravagance as theCannes Film Festival. This year, beneath the blinding Riviera sun and the flash of thousands of cameras, the 78th edition of the festival brought a renewed sense of opulence and expressiveness.

Maria Biardzka was granted access to the red carpet, capturing stars in rare, fleeting moments, exclusively for Schön!. Some of these moments have been immortalized on 35mm film. These analog photographs offer more than aesthetic nostalgia: they distill the raw glamour and subtle humanity of Cannes in a way digital photography often misses. The soft grain, the gentle bloom of sunlight on skin, the shimmer of sequins caught mid-stride—these are portraits not just of fashion, but of mood.

The red carpet at Cannes 2025 shimmered with all the expected glamour. But beneath the surface, quiet revolutions were underway. The festival organizers introduced notable changes to the official dress code for 2025, drawing a new line between elegance and extravagance. While Cannes has long dictated formality, this year’s rules took a firmer stance against excess: gowns with overly long trains and overtly revealing silhouettes were politely barred from the Palais steps. The goal? To preserve the flow and dignity of the red carpet, ensuring it remains a space for fashion to move with grace.

 One of the most publicized adjustments came in the form of a clarified footwear policy. In a subtle but significant move, Cannes confirmed that flat, formal shoes are welcome alongside heels, a nod to past controversies and a quiet triumph for both comfort and gender expression. Traditional evening wear remains the gold standard—tuxedos, floor-length gowns, cocktail dresses, and dark suits—but the guidance now encourages “refined restraint” over theatrical flamboyance. Colour for men was gently discouraged, favouring classic black and white to let tailoring and cut speak for themselves.

Finally, the red carpet selfie ban, first introduced in 2015, was firmly enforced this year. Guests were reminded that the red carpet is a cinematic ritual, not a social media backdrop. In keeping with this spirit, our own analog film portraits feel even more poignant, offering not just a visual document, but a quiet resistance to the culture of constant self-surveillance. Cannes 2025, with all its opulence, also asked us to look slower, deeper, and with more reverence.

photography + words. Maria Biardzka