There are films you can’t remember watching for the first time, only the feeling of having always known them. For much of my generation, Practical Magic is one of them — and the same is true for Maisie Williams. “I don’t remember the first time [I watched Practical Magic],” she admits. “I would have been quite young.” What she remembers instead is one particular re-watch: a sofa, her mother beside her, and the strange serendipity of watching the 1998 cult classic again while auditioning to join its 2026 sequel, Practical Magic 2. “It was so much fun,” she says. “We laughed and cried.”

Top and skirt, all Louis Vuitton.

Top and skirt, all Louis Vuitton.

In Practical Magic 2, Williams plays Antonia Owens — one of Sally Owens’ (Sandra Bullock) two daughters, sister to Kylie (Joey King), now a medical student. A generation ago, Sally and her sister Gillian (Nicole Kidman) were the beating heart of the original; the sequel hands that dynamic down to Sally’s girls. Kylie is the fiery one: reactive, impulsive, the sibling who cracks open the family’s darkest secrets and sets the whole story in motion. Antonia is her opposite number. Her power is measured, sharper, the kind that doesn’t announce itself.

Jacket, top, pants and shoes, all Louis Vuitton.

Jacket, top, pants and shoes, all Louis Vuitton.

When Williams first read the script, it wasn’t spectacle that drew her to her character. It was restraint. “I liked her quiet power,” Williams says of Antonia. “The journey of incorporating magic into her life, which is dominated by medicine, felt like a story I could enjoy telling.” Here is a woman of science asked to make room for the inexplicable — a premise that could easily tip into the absurd, which is exactly why Williams saw it as a chance to ground the character in something real.

The obvious version of Antonia would have been the stiff, buttoned-up foil to a freer sibling. Williams wanted none of it. “It would have been too easy to play Antonia as uptight and therefore smaller than her sister,” she explains. “I liked the playful nature Joey and I found under the covers in the bedroom scene. I liked Antonia teasing her sister about falling in love rather than being more traditionally supportive. Sisters are more cutting than that.”

That instinct — to resist the easy read — carried into how she held her own opposite Bullock and Kidman, a multi-generational masterclass that could have felt paralysing. Williams treated it as an invitation to experiment instead. “I pushed myself to keep it fresh and try new things,” she says. “Rather than being married to getting one perfect take, I wanted to get as many options as possible. Sandra and Nicole were incredible at that.”

Top and hat, all Louis Vuitton.

Top and hat, all Louis Vuitton.

So how do you honour the fantasy without losing the human? For Williams, the balance wasn’t something she had to engineer so much as something the material already understood. “[The Practical Magic universe] manages to explore dark themes with light comedy,” she says. “Life itself never has one theme or genre; everything happens all at once, whether you like it or not. I love the way Practical Magic twists and bends genre.”

Ask her to imagine the Owens women in less witchy circumstances — say, dropped into a Fortnite Battle Royale — and Williams, an actual player of the game, doesn’t hesitate. “I think Aunt Gilly would get eliminated first because she’d be foraging for spell ingredients and get lost wandering into the storm. And I think Kylie would have to avenge her; only she has the fire to go the whole way.”

Dress, Louis Vuitton.

Dress, Louis Vuitton.

If her acting reveals an appetite for risk, her work behind the camera reveals her values. Through Rapt, the production company she co-founded, Williams has moved into the seat where stories get greenlit — and she’s candid about how difficult that seat is to occupy honestly. The company’s mission is to champion character-driven stories from underrepresented voices, but the industry keeps quietly rewarding the familiar. “It’s hard,” she says plainly. “So far, it has been much easier to get a project set up when the writer and/or director is a white man. Which might be a total coincidence. But it doesn’t feel like the mission we set out on.”

Coat, pants and shoes, all Louis Vuitton.

Coat, pants and shoes, all Louis Vuitton.

She describes an industry allergic to originality, addicted to repetition. “It’s hard to get things made for all kinds of reasons,” she says. “Mostly because after one successful relationship horror, seven more will be green-lit. Until everyone decides they’re sick of relationship horrors and now they’re moving on to postpartum depression horrors. And the cycle goes on and on. Convincing someone to make something strange and cool before anyone else has is the hard part.”

The biggest threat on the horizon, in her view, isn’t taste — it’s technology. On AI and young creatives, Williams is unequivocal. “AI is a huge threat to young creatives, and I think we need to be really careful about the things we allow it to do,” she says. “AI should be giving us free time to be more creative. I think making art is a fundamental human function, and I am terrified AI will take that away. So we must resist and be firm with policymaking and laws.” For Rapt, that conviction is a policy: “As a production company, we will never use AI where a human can be paid to create instead.”

Dress and shoes, all Louis Vuitton.

Dress and shoes, all Louis Vuitton.

This fierce protectiveness over human artistry feels more like a personal reclamation. Williams has spoken openly about how “lost” she felt when Game of Thrones ended, having spent her most formative teenage years detached from her own identity. For the actress, the reclamation of that self has been deliberate and quiet — built as much from small pleasures as from big decisions. Glenn Martens for Margiela. Fendi Baguettes. Ethel Cain. The ’90s. Woodland walks. Dancing in the club with her friends. Incline sprints to Slayyyter. Eating snack plates. “I spend a lot of time in my own world,” she says. “It makes it easier to regulate when things do get busier if I’ve spent a lot of time alone in nature, reconnecting with myself.”

Asked what she’d tell her twelve-year-old self now, Williams offers something that sounds less like advice than a promise. “Life will get better than you knew was possible,” she says. “Keep laughing and trust that it will all work out soon.”

Photography: Jumbo Tsui
Creative & Fashion Direction: Sean Kunjambu
Editorial Director: Cherry Mui
Casting: Jill Demling
On-Set Stylist: Macy Idzakovich
Makeup Artist: Kindra Mann
Hair Stylist: Clayton Hawkins
Executive Producer: Alexey Galetskiy
Styling Assistant & Tailor: Shirlee Idzakovich
Photography Assistant: Anthony Quisay
Production Assistants: Justin Barahona & Christian Flippo
Wardrobe: Louis Vuitton