Gurls Talk Premiere Event in Partnership w/ Coach & Dazed

While in recent months the times have been trying, sometimes it’s good to be reminded of all the positive and empowering vibes still around us. On July 1st, Gurls Talk will be hosting their first event with a day-long festival of female empowerment. Gurls Talk in partnership with New York fashion house Coach and supported by Dazed will kick off their free and open to the public event with a talk by activist and model Adwoa Aboah.

While you might recognise Adwoa for her accomplishments as a model, working with fashion powerhouses Versace, Alexander Wang and Kenzo to name a few; what you’ll no doubt grow to admire her for is her work as an activist and founder of Gurls Talk. As explained in the video below above (which is worth watching in full), Adwoa explains the reasons she founded Gurls Talk as the safe place she needed as a young woman but was not able to find.


“Having such a hard time when I was at school I think there should really be a space where girls can talk about these certain things that maybe people don’t see as so important like insecurities and boyfriends”

“At school, I didn’t have this place – I idolised people who had a life I thought I wanted”

A safe space to discuss ideas of sexuality, body image, mental heath and so much more – Gurls Talk is an unfiltered platform full of articles and stories which educate as much as they inspire and we can expect the very same from their event this Saturday.

Speakers confirmed so far include US Vogue contributor and relationship expert Karley Sciortino, activist, actress and model Hari Nef, intersex advocate and model Hanne Gaby Odiele, feminist columnist and author Laurie Penny, and Professor KM Abel. Alongside panel talks, there will be a programme of workshops including a movement workshop hosted by British choreographer Wayne

McGregor; a bonding and healing workshop hosted by Dr Lauren Hazzouri in addition to a Claire De Rouen library, a Coach Dream Station, a photo studio and much more.

The event is free and open to the public and of course, we wouldn’t miss it for the world and will be down there front centre of every talk, workshop and photo booth.

Free Admission

To secure your place RSVP at

Location: 180 The Strand, London WC2R 1EA – Time: 12:00pm-6:00pm

FAULT Focus: How e-cigarettes have changed pop culture

In years gone by, it used to be the rule that if you wanted to create a  cool, rock n roll, brooding character, then they had to smoke. Be it James Dean’s breakthrough role as Jim Stark in Rebel Without A Cause, John Travolta’s swooning and charismatic portrayal of Danny Zuko in 1978’s Grease or Brad Pitt as Tyler Durden in 1999’s Fight Club – if you want to portray a badass, they had to be seen with a  cigarette.

Of course, it wasn’t just male brooders of yesteryear who had to always be seen dragging from cigarettes on screen, a demur example of its female counterpart can be seen in the legend that is Audrey Hepburn. Even her most famous photograph taken from Breakfast at Tiffany’s shows her irradiating natural beauty but in her hand, the famous cigarette holder clenched so delicately.

This, of course, was simply a sign of the times, while now we might discern the cigarette, smoking tobacco has been a way of life worldwide for centuries. In 1974, over 50% of men in England smoked but by 2015 that number had fallen to 19.1%. Thanks to a number of different factors namely, vaping, nicotine gum and nicotine patches, the number of cigarettes smoked has fallen but not the ingrained cultural connotations that come from mood caused by smoking haven’t. So where has pop culture turned to I hear you ask – e-cigarettes.

Watching an actor on screen blowing out plumes of smoke, whiskey in hand as they act out whatever dramatic scene is asked of them still implies a level of drama, seeing a cigarette in hand also brings the negative connotations of stale smoke soaked furniture and blackened teeth but luckily for producers, e-cigarette smoking does not share the same negative connotations.



Take for instance ‘The Tourist’ which stars Johnny Depp and Angelina Jolie sees Depp’s character Frank puffing away on his e-cigarette on a train (not something we’d advise). Notice how Depp is able to keep the same brooding, sexual prowess of the gentleman above without the uncomfortable and culturally out of touch sentiment of cigarette smoking.

Even small screen characters who are famous for their cigarette smoking have now moved onto e-cigarettes even Eastenders’s own mainstay Dot Cotton. For years, Dot could be seen on the show smoking, pre-UK smoking ban there are even clips of Dot smoking inside her place of work but fast forward to today and Dot Cotton is in the famous Queen Victoria Pub puffing away on her Vapestick.

On screen isn’t the only place that the vision of smoke is required, however, even we have participated in the switch over in our shoot with Angel Haze. On the 2014 Online Cover shoot, we depict Angel blowing out plumes of smoke but without a cigarette in sight. On set, we used an e-cigarette filled with e-liquid from Vape Club which we then removed before taking the photo.

As the popularity of cigarette smoking continues to fall, we’ll no doubt see e-cigarettes fill the void for years to come.


FAULT Magazine Alumni Nick Jonas, Anne-Marie and Mike Posner team up for music video


FAULT Magazine Alumni Nick Jonas, Anne-Marie and Mike Posner have teamed up for the new video for their track “Remember I told You”. Check it out below!



Apple Music:…
Google Play:…

#NoArtistsNoArt – Lights of Soho launch campaign to save Soho as London’s bright, neon beacon of creativity.


Lights of Soho, located on Brewer St, London, is spearheading a new campaign entitled #NoArtistsNoArt, supported by local galleries, restaurants and bars around Soho that will remove or cover up every piece of art on their walls – a bleak intimation of what is happening because of the large rises in business rates, pushing out the independent operators in the surrounding area.


London Cocktail Club

The team are on a mission to support all creatives, including those in film, fashion, music, art, publishing and design, giving them a platform and venue to promote their work – for free. All profits from the bar, art sales and corporate events is put back into the venue, with the Directors and owners never taking a fee or wage in the two years of its operation.

Lights of Soho itself now needs to expand to create a self-funding, sustainable business, without which it too will struggle to survive.


The #NOARTISTSNOART campaign has been created in collaboration with M&C Saatchi and is supported by venues such as Soho House, Quo Vadis, Blacks, The Box, The London Cocktail Club, Cass Art, Balans, Randall & Aubin, Pix, Soho Radio, Save Soho and many others.



Lights of Soho Gallery opening hours:

Monday – Sunday: 10 am – 6 pm, members only from 6 pm – midnight.

You can donate to the cause at their Kickstarter page here .

FAULT Focus: Khadija Saye: Remembering The Artist Through Her Photography


Early Thursday morning, the reality of London’s Grenfell Tower blaze hit home for myself and my fellow UCA alumni as we read the final Facebook update from our once classmate, Khadija Saye. Trapped within the burning building, Khadija reached out for prayers from her loved ones, and they rushed to the streets and social media in hopes of finding her. Sadly, the next day Khadija’s family would confirm that what we feared the most had come to fruition, Khadija had tragically perished in the blaze.

While we did share a class throughout university, myself and Khadija were not close friends. Remembering my panic as I scrolled Google and social media desperately looking for an update on her condition, I feel compelled to help ensure that her captivating body of work and not the tragedy of her passing, form her lasting legacy.

As an artist, her work cast a light on Gambian culture, the collective unity within “the other” and her journey into self. In memorial of Khadija and the conclusion of her photographic portfolio, FAULT takes a dive into the work of the late great artist – Khadija Saye.



In 2013, Khadija took her seat at the proverbial table and unveiled her centrepiece in the form of her photographic project entitled, ‘Crowned’. This series of photographs is one of the projects that our class was able to observe as it developed from inception to completion as Khadija’s final degree show series. ‘Crowned’ is made up of eight portraits showcasing the different ways in which black woman close to Khadija styled their hair. From woven braids, extensions, dreaded and natural afro, the viewer is given a glimpse into the diverse range of hair styling possibilities open to black women.

Entitled ‘Crowned’, Saye references the physical and the symbolic idea that black hair is something to be prized and adorned and not ashamed of. The words of Ingrid Banks taken from her book entitled ‘Hair Matters: Beauty, Power, and Black Women’s Consciousness’ echoes in my mind when I reflect upon Khadija’s title choice. In the book, Banks writes:

“Crown suggests a source of power, excellence or beauty…Therefore, a notion of power is embedded in the idea of hair as a black woman’s crowning glory. Hair has the ability to become a foundation for understanding how black woman view power and its relationship to self-esteem” –  Ingrid Banks 2000.

More contemporary references to black hair as something of brilliance can also be seen in Solange Knowles’ critically acclaimed 2016 release ‘Don’t Touch My Hair’, where within the opening verse Solange exclaims:

“Don’t touch my crown, They say the vision I’ve found”

“They don’t understand, What it means to me”.

One does wonder what significance Khadija’s perception of her own afro hair and its beauty played in her choosing to embark on the project and if I were to guess, producing ‘Crowned’ was a labour of love and presentation of self-pride. Indeed in March 2017, four years after the release of the series, Khadija reminisced on the making of the project in joy tweeting:


In the image, her young assistants observe possibly unaware of the importance their participation played in the construction of ‘Crowned’ or how it might affect their perceptions towards their afro hair and ideas of self in years to come; truly the impact of ‘Crowned’ will stretch on far further than even Khadija would have imagined.

As the only black male on our course, I once attempted to play up my “wokeness” and asked Khadija if she had seen “the Chris Brown documentary called ‘Good Hair’”, (misquoting Chris Rock’s 2009 documentary that focussed on the perception of natural hair within the African-American community.) Emblematic of her kind-hearted and gentle attitude, Khadija, of course, corrected my mistake letting out a light giggle; dropping my façade I listened to her thoughts on the documentary.

Earlier I referenced Solange Knowles’ ‘Don’t Touch My Hair’, a fiery anthem that highlights the resentment caused by patronising actions which decrease afro hair to a thing of play but observing ‘Crowned’, the same frustrated narrative does not confront me. My interpretation of ‘Crowned’ isn’t, “don’t touch my hair!” It is an inviting, “Don’t touch but do see. Bear witness to the beautiful ways black women can choose to style their crowns.” The viewer is invited to marvel at the intricacies of the different twists, curls and over-locking structures of the sitter’s hair and when printed and framed in a gallery, we’re disarmed and hypnotised by their sophisticated beauty.

It’s important we recognise the personal connection Saye shared with the women she photographed. The trust the sitters have placed in Khadija is unique; formed not just from a shared experience of blackness but through the confidence these women placed in Khadija’s skill as an artist to capture so much more than just hair. It is thanks to her affable character that Khadija was trusted to capture up-close the art within her subject and through her artistry and presentation nous, she allowed the viewer to appreciate black women’s hairstyles up close as something of splendour.

Khadija’s ‘Crowned’ might end here, but the project as a form of inspiration to a new generation of artists will continue. The eight sitters included on Saye’s website are but a drop in the ocean of the many different ways black woman can choose to style their hair; making ‘Crowned’ a gleaming seed from which the mightiest body of work can still grow.



For her series entitled ‘Home.Coming’, Khadija travelled to The Gambia and documented her exploration of self through a series of portrait and landscape photographs.

Something I notice through all of Khadija’s work is her ability to find familiarity and gain trust within cultures sometimes seen as ‘the other’. ‘Home.Coming‘, ‘Crowned‘, ‘Eid‘, ‘Madame Jojo’s‘, all focus on different categories of the human experience yet notice how she has never been kept at arm’s length from her subject. I don’t feel the presence of a white tape that Saye is forced to photograph from behind when I observe her work. When capturing her subjects, for a time at least, Khadija is one with their environment and through her lens’ eye, the viewer is too.

For me, the unseen friendship-building and conversations Saye would have had with each person to earn their trust before the photo session conjures much intrigue. The above portraits arrest your gaze; the men’s eyes tell countless yet frustratingly unattainable stories. Khadija has stopped time but for a moment yet opened the door for myriads of questions – made sorrowfully more perplexing now they’ll go unanswered.

In another photograph from the series, a young girl smiles as she watches something out of the frame and in the below photograph a man leans on his prized Volkswagen, both beg a mountain of questions yet if we take a step back, we’ll find Khadija’s story told throughout the series.

Any second generation migrant knows all too well the conflicted notion of “home”, and from what I can only guess, Khadija travelled to The Gambia to find, explore and reflect on life in a home in which she did not live. While the content of Khadija’s photographs doesn’t answer the question of “did Khadija find self and the comfort of home while in The Gambia” but we need only look at her sitters to find our answer. As referenced previously, her subjects are unperturbed in front of the camera and this is likely because they were relaxed with their photographer. Any artist can tell you the anguish of requesting a portrait of a stranger only to watch their sudden discomfort when faced with the intrusive camera lenses flung in their face but notice the air of calm in Khadija’s work.

Yes, each photograph in the series contains countless untold stories, yet one is clear, and it’s the sitter’s tale of Khadija. As a photographer, she wasn’t a stranger in their midst nor a second generation displaced entity forcibly taking up shop in their domain; for that time if only for a moment, Khadija Saye was one with them – truly at home.


Dwelling: In This Space We Breathe

Khadija’s last exhibited work ‘Dwelling: In This Space We Breathe’ made with the help of artist, Almudena Romero, saw her once more exploring her heritage by investigating traditional Gambian spiritual practices and the comfort practitioners found in the arms of a higher power.

There is something remarkably poignant about her final project immortalised on such a physically existent format such as the tintype. By using tintypes, Khadija transformed her amorphous visual being, memory and legacy from a temporary state and gave it physical form. Unlike a digital file, memory or spoken recollection, her tintype image has weight, texture, smell and uniqueness the very same way our physical forms do; yet unlike us, her tintypes do not have an expiration date and will always remain.

The very idea of legacy and the pursuit of artists to leave a token in this world for after we pass, itself is a practice of spirituality. For all we know, there is no telling of what significance our life actions will play after our lives come to an end, yet we attempt to leave proofs of our existence to tell the future world “I was here and I existed.”

In the tintype images, Khadija is depicted in a ritual using sacred Gambian artefacts meant for the purpose of connecting with the spiritual world from the physical plane. Now with her passing, there is a spiritual awakening of ideas and ways of reflecting within the viewer. Now as we gaze upon the imagery, it is us the viewer who are being connected with Khadija and in turn, linked spiritually to the “once was”.It is through Khadija’s immortalisation of Gambian ritual that we now look upon her from this physical plane despite what would be considered by many religions as her soul ascending to a higher state of being.

I’ll admit that the above sounds somewhat of a stretch and likely not what the project was intended to symbolise, but it did cast a light on my scepticism towards schools of beliefs that I do not understand. In reflecting on the work, my own westernised perception of spiritual ritual has come into question. For myself at least, the actions depicted by Khadija provides a brand new outlook and way of seeing such ceremony.

For some of those raised in the UK, the idea of spirituality and non-conventional western religion is sometimes considered as something of myth or fantasy, not necessarily through conscious choice but through our conditioned view of pre-evangelised spirituality.

In Sir Edward Burnett Tylor’s 1887 book (now somewhat offensively entitled) ‘Primitive Culture’, he gave the broad belief that spirituality can be attributed to ritual and inanimate objects the name ‘Animisim’.

Note: ‘Animisim’ does not exclusively describe the Gambian ritual Khadija explored in her project but broadly refers to the school of similar beliefs held by people throughout Africa, Europe, Asia and Australia throughout history. Hopefully an anthropologist or practitioner of the specific belief Khadija explored can provide a more suitable title for us to use in this essay.

While coining the English term for the phrase, Tylor knew he was generalising a large number of people, but he did so out of frustration with writers of his day who saw such displays and dismissed them as illegitimate forms of spirituality.

“Short of the organised and established theology of the higher races as being a religion at all. They attribute irreligion to tribes whose doctrines are unlike theirs”. – Taylor 1887

The link between the photographic process and spirituality is also drawn upon in the accompanying text for ‘Diaspora Pavilion 2017’ where the works are currently held on display.

“The process of submerging the collodion covered plate into a tank of silver nitrate ignites memories of baptisms.” – Disapora Pavilion 2017

It is clear Khadija found a spiritual link at every step of this project even choosing herself as the subject when producing the tintypes but rather than theorising or projecting, it’s only right to let the words that accompany the project have the final word:

“This work is based on the search for what gives meaning to our lives and what we hold onto in times of despair and life changing challenges. We exist in the marriage of physical and spiritual remembrance. It is in these spaces that we identify with our physical and imagined bodies. Using herself as the subject, Saye felt it was necessary to physically explore how trauma is embodied in the black experience.” – Disapora Pavilion 2017


Notice how throughout Khadija’s entire body of work, there’s a level of thinking that transcends just the art of seeing. All three projects spoken about above are unique individual displays of artistry and wonderous displays of photography worth that of an artist far beyond Khadija’s years.

‘Crowned’, ‘Home.Coming’ and ‘Dwelling: In This Space We Breathe’, are all linked only by the artist of origin and much like Khadija, they mean and will continue to mean so much to so many different people. Reminiscent of the Khadija that I knew from across the lecture theatre, not a lot is shouted nor is it displayed with over-the-top performance – because work and artists with true substance donesn’t require such theatrics.

This week we sadly lost Khadija, but not her contribution to the artistic world.


See more from Khadija’s portfolio on




Fault sits down with Hey Violet

“You know what would be goals?” exclaimed Rena, the pink-haired vocalist and soul of the band. “What if we had holograms of ourselves? And then, if we were really tired, we could just send them out!” The outburst, met with cries of derision and glee alike, perfectly defines the spirit of pop-rock band Hey Violet – just a group of five friends from California determined to play music whilst encapsulating today’s youthful vision of a band on tour.


For those of you who haven’t heard of 5SOS’ first signing to Capitol Records, you probably should; and if you haven’t, your little sister definitely has. The young five-piece, consisting of sisters and founding members Rena and Nia Lovelis, Miranda Miller, Casey Moreta, and Iain Shipp, have been steadily taking over Twitter, Snapchat, and Instagram with a Western hemisphere dominance counter-reflective of The Beatles’ rise to fame, albeit in a social media-led fashion.

Despite opening for prestigious bands such as Foo Fighters, Steel Panthers, and Lostprophets, and featuring at festivals such as Reading and Leeds Festival, the band haven’t let fame go to their head – at all. We’re interviewing the five in a hotel just off Shoreditch High Street and, despite their massive following, this feels merely like a casual sit-down with a couple of buddies. There’s none of the pretentious charades put on by other bands, or diva requests for no recording or certain questions. There’s just five relaxed friends, laughing, joking, and enjoying their time touring and seeing fans. Read on for our rapidfire Q&A with Hey Violet’s squad. Just a quick note: the interview has been edited for clarity. There was way too much bickering and squabbling over who’s who in How I Met Your Mother.


So, there’s five of you. If you had to choose five characters from Friends, who would you all be?

Rena: I’d be Rachel.

Nia: I’m Monica. [points at Miranda] You’re Phoebe. And Casey’s Chandler.

Iain: Which am I?

Rena: He’s not Ross.

Nia: I feel he’s more Ross than Joey. Joey’s kinda dumb.

Iain: But Ross is so naggy. Ross is annoying.

Nia: He is. But he plays keyboards though. Ross is a fuckboy.

Iain: Alright, I guess I’ll take the L?

Rena: I feel like both of them would be Chandler, with a little bit of Ross.

Nia: Yeah, you can both be Chandler.

Iain: What, no!

Casey: We’ll both be Chandler. No Ross.

Iain: Joey’s an actor, right?

Nia: Yeah, but he’s really dumb.

Iain: But he’s an artist. Career-wise, we’re both in a similar boat.

Rena: Okay, Iann’s Joey.

Iain: I guess I’ll take Joey, taking L’s left and right.

Nia: I’d rather be Joey to be honest.

Miranda: But nobody in this band is that dumb?


Same question, but How I Met Your Mother instead.

Nia: Thank you! I love How I Met Your Mother. It’s so much better than Friends.

Casey: Agreed, Friends sucks. HIMYM is life.

Rena: I think that Nia is Robin.

Casey: Nia is Robin.

Nia: I feel like, in a weird way, Casey is Barney Stinson.

Rena: What?! No way. Casey is Marshall.

Casey: I’m Barney Stinson in a funny way, not the player way.

Rena: Iann’s Ted Moseby. Casey is Marshall.

Nia: Rena and Iann are definitely Lily and Marshall!

Miranda: Who am I?

Nia: I need to figure that out.

Casey: I’m like funny Barney?

Miranda: I feel like I’m Robin?

Rena: Nia’s more Robin. We could argue about this forever.

But seriously, who’s who?

Nia: Iain’s Ted, I’m Robin, Casey’s Barney, Miranda’s Marshall, and Rena’s Lily.


What’s playing on your Spotify?

Iain: I’ve been listening to JoJe. He’s a little producer out of New York. He’s a bit like Frank Ocean? He’s not Frank Ocean, but that’s the closest thing I can describe him to. And probably Grimez, I love Grimez.

Nia: I like looking on the Spotify new releases and finding new things. I find myself going down a pit, and listening to the same thing, and I hate it.

Miranda: I’ve been listening to Tame Impala and Kendrick Lamar.

Rena: Yaaaas gurl, new Kendrick!

Miranda: It’s so good. Daaamn, right?

Casey: Mine is Father John Misty?

Rena: Probably Dream Koala.


What TV series are you guys binging at the moment?

Nia: The Walking Dead. The Office US. I tried to watch the UK version, it’s too awkward.

Rena: Black Mirror.

Casey: Rick and Morty.

Iain: Mr Robot.

If you could design your dream live show, what would it be?

Iain: Mr Robot. Oh wait, live show?

Miranda: We actually have a group chat where we send each other ideas for stuff we can’t afford yet for our shows.

Iain: We literally do.

Miranda: We love, like, pinks and blues and very vibrant colours.

Nia: I think also Miranda showed us this documentary that explained this one particular stage designer’s process. Kind of rather than having a normal band set-up, she would have the stage levelled so that all the members were on platforms so that they were equal.

Miranda: She was just so out-of-the-box when she designed things that, I don’t know if it’s all of your dreams, but it’s my dream to work with somebody who thinks like that.

Rena: You know what would be goals? You know how when you get off a plane and we’re really tired? What if we had holograms of ourselves? And then, if we were really tired, we could just send them out.

Nia: I wouldn’t like that.

Miranda: Being on stage is the fun part of life.

Casey: That’s like one step away from lip-syncing – not only are you not singing, but you’re not even there. Like you could be at the hotel just like telling the tour manager what to do.

Iain: But check it out, The Gorillaz sell out stadiums and they’re like not even real.

Casey: But that’s a cultural thing. The characters aren’t people, y’know?

Miranda: But being on stage is the thing that we live for!

Rena: Well, we just want a cool show, y’know?


How did you choose Hey Violet as a name?

Rena: Everyone asks us that. It’s such a boring answer. We were searching through names, and going on and finding names, and we had terrible ones like banana pie and all that. We literally went through over 500 different names.

Nia: We counted them.

Rena: Sometimes the names that were coming up were Hey Velvet, or Violet Mouth, and those words kept on coming up. And then somebody shouted out ‘Hey Violet!’. And we just really liked the sound of it.

What’s the go-to hashtag?

Iain: #beastmode.

Rena: Oh my god.

Nia: #fromtheoutside

Casey: Two bad hashtags in a row.

Rena: I don’t know if it’s my favourite, because there’s a lot of good hashtags out there, but one of my favourite ones is when people would do selfies for Hey Violet to gain confidence.

Nia: Fans started it on Twitter. It wasn’t us, it was them doing it just for confidence really.

Rena: It was about seeing each other, and making friends. It was a very positive project, and I liked that. I really liked that. It wasn’t just about their looks, but we actually got to see the fans who loved our music. That was really cool.


What’s the one question you’d ask yourself?

Nia: Ooo, what do we never get asked?

Rena: You know, this one is kinda hard, but I like this one. Describe each other in one word. We’re gonna argue though.

Miranda: Can I go first? Iann: underground. Rena:…

Rena: Choose wisely.

Miranda: I’ll come back to you.Nia: Manic. Casey: cynical. Rena: You’re, uhm, hold up, what’s like a word for like you go after what you want? Focused. But not like in a way when you focus on things, because your focus isn’t that great. Driven?

Casey: Okay, uhm, Iann: indie. That’s all he gets. Hipster. I change it, he’s hipster. Rena: annoying? Nia: Also annoying. And you too Miranda.

[lots of arguing]

Rena: Iann is obscure. I’m fashionable. Nia: Very stubborn. Casey is, uhmm, hilarious? And Miranda is intelligent. How would you describe us?

[Writer’s note: I had to describe the band. Please don’t judge me too harshly HV fans, pretty please]

Fault: Am I allowed to piss off the band?

Rena: Yes. Definitely.

Nia: Please, we’ve never had this before. But be honest.

Iain: Roast us!

Nia: If anyone asks us why the band’s crying, we’ll say it’s just us.

Fault: Okay, this is going to be bad, isn’t it? Nia, definitely ‘Italian’.

Nia: Wait, did you know that? I am Italian!

Fault: Rena: ‘Tumblr’.

Rena: Am I?

Whole band: Yeah.

Iain: Roasted.

Fault: Casey would be ‘drummer’.

Casey: I get that a lot.

Nia: I’m offended by that. I’m the drummer!

Fault: Iann would probably be dark and mysterious. That’s not one word, but that’s what I’ve got.

Iain: I’ll take it.

Fault: And Miranda? I don’t know, academic?

Miranda: I do study. Like, a lot.

Iain: We asked him to roast us and he just boosted our confidence. Except from Casey.


Check out Hey Violet’s latest release From The Outside here.
Words Danny Judge

Dua Lipa dishes on debut album in exclusive Fault shoot and interview

FAULT first featured Dua Lipa as one of our ones to watch for 2016 back in Issue 23. Building a fiercely loyal fanbase, we all held our breath in anticipation for what would come in the future. Now it’s 2017 and Dua is a household name from her single releases alone and with the arrival of her debut album today, we caught back up with Dua to see what’s new, what’s changed and what’s still FAULTY.

It’s finally here, is it weird to know your album is finally out?

It’s exciting and I think it’ll be weird on the day. In fact, it’s the morning after that I think will be the most crazy as it’ll be out. I’ve not been able to add to it for a little while and it’s just been really exciting to see it come together.


You spoke to FAULT about a year ago and your mind-set was very much in the place of “I’m free to write about anything I want so I’m going to” – has your mind-set changed since then?

Now I’m really focussing on being present and mindful in everything I do, it’s all about enjoying the journey.


Back then you said your FAULT was that you overwork – would you say that’s changed since then?

I’m still working hard because I love what I do although I’m not overthinking anymore and that’s something I’ve consciously made a decision to do. It’s not worth dwelling over and for me, if it feels right at the time I might as well just go for it and live in the present and then move on to the next thing.


What’s been your favourite moment so far?

I’ve really enjoyed being on tour and I love being able to go on tour and see different places. I just came back from southeast Asia and it’s interesting to see and amazing to find that I have an audience over there. It’s been really great.


Are you the same Dua when you’re on stage compared to when you’re in the studio?

I’m not; when I’m in the studio I’m more contained and a lot of emotion goes into really telling my story through my vocal and my lyrics. When I’m on stage, it’s a lot about just having fun and it all goes in waves. You start dancing, then you have a cry but we always send you home dancing again and I feel like when I’m on stage and as much as I get my emotions across I also make sure my audience is having fun. I can feed off the audience more on stage also, if they’re having a good time then I’m having a good time.


You’ve just released your song with Miguel also – how did that come about?

He’s always been an artist that I loved and admired for his work as a songwriter so I reached out and he was lovely and got back and said “let’s do it!”. I’ve done collaborations with artists before ever meeting them but with Miguel, I was able to form that relationship with him through writing together in the studio.


Through much of your career music writers have described you as “the next big thing” and we’ve all been told your album “will be great” – now we draw closer to release do you feel a lot of pressure to live up to the hype placed on you?

I feel pressure; there’s always pressure that comes with people’s expectations of you but during my career I’ve been very lucky to have people put me on their ones to watch lists and it’s helped me get to where I am but also pushed me to tell myself “I have to make sure all these people are right”. I don’t want people to look back at those articles like “oh, whatever happened to Dua?”, so yes there’s pressure to work hard to prove them and myself right.


What’s your plan post-release?

The day the album comes out I fly to NYC for Governor’s Ball and I’ll be there for a couple days and then I play festival season until September. From October through the end of the year I’ll have my album tour and then I’m off on tour with Bruno Mars! As crazy as it sounds, I’ve already started work on the 2nd album and I’ll focus a bit on that in January.


Is writing still fluid?

I feel like so much has happened that I need to write about and when I get into the studio I just add those words to melody.


Favourite tongue twister?

Peter Piper Picked A Peck Of Pickled Peppers.

What is your FAULT?

The album not coming out in February, because it was completely my doing.


Was it the right decision?

Absolutely! I was upset, my fans were upset and it was entirely my FAULT but I’m really happy I did and because I released so many songs I’ve been able to put some new songs on the album and have it sounding brand new.


Dua Lipa’s self-titled debut album is out today.

Words Miles Holder

Photography Jack Alexander

Makeup Francesca Brazzo

Hair Anna Cofone

Fault Magazine playlist Santino Le Saint

Today’s playlist comes courtesy of newcomer Santina Le Saint set to take the world by storm with his pioneering sound of ‘trap-rock’. Founder of London-based collective Cloud X  recently released his single 4am which is taken from his forthcoming EP. A multi-faceted musician, Santino Le Saint transcends mediums with his talent in music, film fashion and art – ready to become an inspiration for generations to follow. Listen to 4am on Spotify here and enjoy the rest of Santino Le Saint’s FAULT Magazine playlist.

Wicked Games – The Weeknd
“First song I ever put out as a cover”

Voodoo Child – Jimi Hendrix

“Best driving song / a song to listen to on the move ever. Made me fall in love with playing the guitar”


Come As You Are – Nirvana

“Hard to choose one Nirvana song but apart from ‘Smells Like Teen Spirit’, this song has crazy vibes”


Bitch, Don’t Kill My Vibe – Kendrick Lamar

“Kendrick Lamar is in my top 5 best rappers of all time, I had to pick one song so I chose this one”


From The Inside – Linkin Park

“Represents a heavier phase I went through, still quite light though in comparison to artists like Slipknot etc. I listened to Linkin Park a lot when I was doing band music”

The Zone ft Drake – The Weeknd

“Probably in my top 3 favourite tracks of all time”

Talking Da hardest – Giggs

“UK National Anthem”

50 Ways to Leave A Lover – Paul Simon

“One of the first songs that my dad taught me to play on guitar and I listened to Paul Simon a lot growing up. He influenced my songwriting”

She’s Out of My Life – Michael Jackson

“One of the first songs I performed as a child – mum’s influence”