Gundelach Exclusive FAULT Magazine Interview


Interview: Kee Chang
Photography: Simen Skari 


Norway’s Gundelach, a.k.a. Kai Gundelach, released his self-titled debut EP in 2017, which secured him a Pop Album nomination at Spellemannprisen (the Norwegian equivalent to the Grammys). Last week, the DJ-turned-solo artist unveiled his debut LP, Baltus, a thoughtful and inspired collection of tracks that continues to showcase his Nordic-noir sensibilities and haunting, falsetto vocals. It’s infused with undeniable feeling that’s sincere and melodies that are unshakably catchy. And while deeply introspective lyrics set to gloom-tinged, dreamy synth-pop is nothing new, most other artists use blunt chisels on big slabs—Gundelach is working in scrimshaw. Among the LP’s stable of uncommonly spectacular tracks, “Duck Hunting” and “Past the Building” are sonic checkpoints that seem to do this still-infant artist on the rise most justice. Just don’t expect confetti canons. Baltus is a porcelain sorrow.


FAULT: Is Gundelach a common surname in Norway? How often do you get asked about your moniker?

Gundelach: It’s not common at all, actually. Even Norwegian journalists ask me that same question. It’s a German/Danish name. I don’t come from a German family, but I guess there were some ancestors.


FAULT: Maybe we can start with your most recent single off Baltus: “Past the Building” featuring ARY.

Gundelach: That track means a lot to me. It came together quite quickly. ARY and I had just gotten to know each other in the studio. I helped her with some of her tracks and she helped me with some of mine. I feel like we make a pretty good team writing the lyrics and the melodies. The track is about relationships that are a bit toxic. I think it’s the only track that I listen to pretty regularly after finishing the album.

FAULT: So “Past the Building” came together pretty fast. Is that usually the case?

Gundelach: It’s really different for every track. When you write with another person like that, you don’t sit for a long time and wonder whether what you wrote is good or not because you get confirmation right away, you know? If you sit with someone that you respect musically and that person says, “That’s a really good melody,” you don’t have to listen to it over and over again for days, which can happen if I write alone.


FAULT: Going way back now, your first-ever single in Scandinavia was “Alone in the Night.” It’s another “melancholic daydream” as you’ve describe your sound in your own words. What inspired that cut?

Gundelach: I was pretty heartbroken at the time. The premise of that song is about the feeling you have when you’re in love with someone, but you don’t know if the feeling is mutual anymore. It’s that place where you kind of know it isn’t, but you’re too afraid to ask so you go around thinking all these dark thoughts. I had this studio just outside of Oslo at the time. I was just sitting in the studio by myself and I had just figured out how I wanted to make music, which I had been trying to figure out for three to four years.


FAULT: In every relationship, there’s one person who loves the other person more. It’s devastating, isn’t it?

Gundelach: I’ve thought about this a bunch of times. It’s not always a bad thing, though, because it can turn from one side to the other. But it is always one person that loves the other person at least a little bit more.


FAULT: On the second-ever track you released called “Spiders,” I know you started with long chords, improvised vocal melody, and then wrote the lyrics. Is that a natural progression for you with songs?

Gundelach: Yeah, that’s kind of my go-to method for writing because I tend to improvise in gibberish. I almost always start with the arrangement of instruments to have two bars or something and then improvise over that in gibberish English. I think that’s pretty cool because, when you sing in gibberish like that, subconsciously, you always say some words that are really good. If you let yourself improvise, you don’t have time to overthink stuff. Then I build the lyrics around those words. I really like working like that.


FAULT: When something big unexpectedly happens—when Pharrell plays “Spiders” on Beats 1–does that feel like a seismic event? Does it ripple out into other opportunities in a way that’s very cause and effect?

Gundelach: Of course it’s always cool when stuff like that happens and I remember that particular instance really well. I was in Berlin. I had been clubbing the night before. My phone rang and it was my manager saying that I had to turn on the radio because Pharrell is playing my song. Of course that’s huge. But I don’t know how much it did for me. I got exposed to new listeners, I guess. For me, and for many other artists also, when stuff like that happens—when you get confirmed for a really cool festival—it’s always cool, but you’re also thinking about the next thing. I wish it wasn’t always like that. I wish you could just appreciate the cool things that happen in your life, instead of thinking about what your next goal is. It’s like buying a Porsche and then sitting in that Porsche thinking about wanting a Ferrari or something.


FAULT: What do you remember from your earliest days performing live and transitioning out of DJing?

Gundelach: That was pretty intense because, even though I had been making music for quite a few years, I shared it with almost no one. I was in the Oslo club community and culture through DJing and knew a lot of music people that knew I made music, but they hadn’t heard it. I was just so nervous. You couldn’t talk to me at all for two hours before I would play. I just remember being super uncomfortable. Now it’s something I can control. And I guess I say that but yesterday I performed on live radio and chocked up on the first line of a song. It’s weird when you have to sit down to do an interview and talk in a low voice like I am now and then have only ten seconds before you have to perform. Your voice isn’t warmed up at all. It went fine, though. I didn’t stop the song or anything. I just came in wrong, I guess.


FAULT: If anything, I think that makes you more relatable to people listening in. It’s disarming and human.

Gundelach: They told me that same thing after the show. It’s true. I guess if you choke up and you’re unable to perform at all, that’s not very good, but if you have a bad start and you get really into it by the end, you’re golden. As you say, it’s a human thing. People see that you’re just a dude trying to sing a song.


FAULT: I know there was a tragedy in your personal life when you flew to New York City to record the EP in 2015. [Editor’s Note: Kai learned upon arriving in the city that his friend back home committed suicide.) Did you find that colouring the material you had already been working on in a different way?

Gundelach: It’s crazy. I had worked out the songs before I got there. When that happened, the only thing that felt right was to be in that studio and just record. It was so weird and scary and everything. Suddenly, all those songs had a different meaning to them. It definitely coloured the whole thing. When you’re emotional, that affects your singing—you hear it in the voice. That was an intense experience.

FAULT: Music entered your life early it seems. You were making music for six years by the time you went public. You sang in children’s theatre at age nine. You learned guitar at ten. As you said, you were nervous to share your work, so what opened up that possibility? Did it become a necessity for you?

Gundelach: The thing is, it wasn’t necessarily that I was nervous. It was just that I wanted to be good enough before I put anything out there. I think a lot of artists I know maybe jumped into it a bit too quickly because they had some demos and a manager reached out to them or a record label reached out. I just wanted to be good enough at the craft before I released anything so I could have control in both the production and the way it’s presented to the public. I wanted to have creative control so I waited until I felt I was ready. But then I guess I wasn’t because you’re never ready. You have to jump into it at some point.


FAULT: Do you think a lot of DJs have the desire—sometimes the secret desire—to make original music?

Gundelach: I do think a lot of DJs have the desire. But most of them want to make club music because they’re in that scene. That’s what was different with me, I guess. I didn’t want to make club music necessarily. I wanted to make music that’s quieter than what I’m putting out now honestly. In the beginning, my songs were just acoustic guitar and maybe one synth. It was really mellow. Then I started adding drum machines. I got more interested in analog gear and hardware. It was a natural progression to introduce that into the music. I guess I had a really different dream for myself when I was DJing because I didn’t want to be playing clubs. I wanted to play stages and nice rooms, and to have a live thing with a band. It’s different.


FAULT: Can you tell me about this unique work experience from your past where you, from what I understand, sang to old people as a sort of therapy? It really underscores music’s capacity to heal.

Gundelach: I felt a bit underqualified for the job. But I felt like I got enough from it on a personal level because it was really important work. I had a great time with those people. They were mostly demented people. You would be sitting there having a normal conversation with one of them and they would start over and over again. They’re just living in a loop, you know? It’s a bit scary. Music has this function where it allows the brain to remember. They suddenly “wake up” when they hear music from their past. I couldn’t play everything on the piano. I had to learn all these old songs and it took up too much time for me to continue so I didn’t have the job for that long. But it was really meaningful to me at the time.

FAULT: Do you still have ambitions to act? I know that’s been a part of your narrative as well.

I do, yeah. My synth player’s girlfriend is actually a renowned director here in Norway and she asked me a couple of times to come and try out stuff with acting. I haven’t gotten any parts yet, but I’m not really working to get them either. If the right project is there for me in the future, I would love to. It’s also a bit scary to jump back on the horse after not having done it in such a long time, I guess.


FAULT: Where do you find yourself pulling a lot of inspiration from, apart from music?

Gundelach: I’m not reading so much right now, but I tend to read a lot. There’s this Norwegian author that you should check out named Kjell Askildsen. He’s the master of short stories in Norway, but he’s also pretty acclaimed worldwide. I have all of his stories. I sometimes read to get into the headspace that I want to be in—not the authors’ necessarily, but into the headspace of the literature. The same goes for Oscar Wilde and Hemingway. That’s a good way to get into the right mood to write music, for me at least.

FAULT: What new challenges did you face while working on Baltus? Did it feel very different in the studio?

Gundelach: It did because this was the first time where I was the main producer and it’s my first album. I had a technician who also co-produced some stuff, but mainly, I worked as the one producer and that was really different. We also had a kind of deadline that was long so it was really intense. It was every day, all day type of thing in a room with no windows in this huge building. We had to go up to the roof at least every third hour to get some light so you could feel that it was daytime. And since this is an album, I really wanted to make it a cool listening experience from beginning to end. I worked super hard on the tracklist. There’s one song called “Control” that we worked on for a week, but all the other songs were a lot quicker and I liked that. I hate it when you can’t figure out one section of a song and you end up changing it like 12 times. You get so sick of the song and end up hating it, you know? Sometimes it feels good to start on the right path and then you can just finish it pretty quickly. I’m happy with the result.


FAULT: Deadlines can be good, too, right? With anything creative, you could conceivably work on it forever.

Gundelach: That’s true. Deadlines are really important. It’s a really good thing.


FAULT: Are you excited to go back on tour soon?

Gundelach: I’m really excited, but I’m a bit terrified as well because we’re going to some European cities that I’ve never played before. I just hope that people come to the shows. I’m trying to have a bit of a different set-up to make stuff even more organic and depend less on backing tracks by bringing more hardware onstage. It’s an overwhelming project right now, but I think It’s going to be really nice in the end.


FAULT: I found a YouTube clip of you performing in the cabin of a plane. That had to be a weird experience.

Gundelach: I think that’s one of the weirdest things I’ve done in my life. If I got asked again, I would say no because it was super awkward. Those people hadn’t signed up for any concert. You’re just standing up there with really shitty speakers. But it was kind of cool as well, I guess. They paid pretty well so that was nice.


FAULT: And lastly, what is your FAULT?

Gundelach: Oh, shit—my fault… It’s my fault that I play too much computer games right now. I’m really into that stuff nowadays. It tends to eat a lot of my time, which should be spent on planning this tour.


FAULT: Which games are you playing?

Gundelach: I’m playing this game called PlayerUnknown’s Battlegrounds. I play Counter-Strike as well.


Baltus is out now. For more information on Gundalech, visit

Dylan Sprouse – Hollywood’s next IT Boy – Exclusive FAULT Online Cover




Things have changed drastically for Dylan ever since his early days as a Disney superstar – but all for the better. Dylan is currently diving head-first into his soon to be opened meadery All-Wise Meadery,  all while expanding his wings into independent film and proving to the world that he’s a multi-faceted performer. Dylan is part of a new generation of actors that bring hope to the industry. At the close of award season, we spoke to Dylan as our March Online Cover Star about all things Hollywood and the positive aspects of the #metoo movement. In spite of his young age, he’s wise beyond his years and sets the examples that we’ve so desperately needed to have. Here’s Dylan Sprouse – FAULTs and all.

Let’s talk about your newly started business – All-Wise Meadery. What do you reckon is the most rewarding part of being an entrepreneur and what advice do you have towards young people looking to start their own business?

I would say that the most rewarding thing for me has been the realization of this project with my friends who are now also my business partners. Particularly because they were people who believed in me and not only invested their time but also their money in the prospect that we could really succeed together. The only advice that I’ve got for young entrepreneurs who are looking to start a business is that it’s easy to think that you won’t succeed if you don’t put a lot of your own money upfront and that’s not true. The first step to actually succeeding is just starting and thrusting yourself into uncomfortable scenarios. Just learning the ropes of how to open a business and really getting in there. If you look at it from the outside and you never step in, you’ll never figure it out. And you’ll never get anything done. So I would say just start. Immediately.


What were the biggest challenges on an emotional level that you’ve encountered along the way?


The biggest emotional challenge was, on a similar level, knowing that my friends invested so much in the meadery that our futures were intertwined. If one of us slips up, all of us do. That was particularly nerve-racking. But on an emotional level, probably the most rewarding thing has come recently when we were actually stood in the space of All-Wise Meadery after nearly two years of trying to put it together. Seeing it physically, tangible – was just overwhelming.

Your latest released film – Dismissed – features quite an intense troubled young man. What catches your eye when you’re going through a script and how did you manage to identify with Lucas?

There are a bunch of different things. One criterion that I use is doing something that I’ve never done before. Even if we’re talking about a negative character – in the case of Lucas. But also – Do I think that the cast and crew will be good to work with? That’s huge for me. You could be doing the coolest role ever, but if you don’t like any of the cast and crew, it’s going to be a terrible shoot. And it will also show in the end result. I’ve been away for so long that I want to stretch my acting again and I want to do things that are different. When my audience sees me in a role, I want them to go like – he’s definitely got more range than I thought he did.

How did you manage to identify with Lucas or empathize with him in any way, shape or form?

I only identified with a part of him. Definitely not his actions. But with parts of him, I certainly did. The stress of wanting to succeed for your family’s sake in a classroom setting is something that I think any student can identify with. The fact that you’re potential future hinges on a single individual and their personal opinion of you can be really damaging and frightening. I think that’s the part of Lucas that I really identified with. When I was young, we were kind of a lower class family and so I was very desperate to bring things to my family and elevate them. That’s something that made me relate to Lucas. It was the struggle of having to succeed in any way and not just for yourself, but also for your loved ones and your family that made me understand him.



When looking at your acting career – it’s been Disney and then you’ve gone into independent film. How do you feel you’ve managed to find your identity outside of the Disney bubble, considering the fact that you were involved in it at a very impressionable age?

It was a little bit of everything. Diving into my hobbies, like my meadery, has defined me in a way. I also think that taking time away from the industry and letting people forget about me for a while was a good thing. Furthermore, I think I’m also trying to do different roles. The truth is that I don’t think I’ve got the angst to define myself against Disney. I don’t care that much. But at the same time, I would like to do other things. Needless to say that I played Zack for 7 years before I took my break! Doing the same thing was tiring after a while.


You and Cole are very distinguishable in terms of the paths that you’ve both chosen to pursue. Yet while growing up, you still had to go through self-identification – while having someone identical to yourself by your side, working in the same industry and being in the public eye. Was it difficult for you to find your own separate ways?


I don’t think it was too difficult. As twins do, sometimes you just try to push away from the other, in terms of fashion and hobbies. And I think we did it in college, but it was never a moment of us being like ‘no, fuck you, see you later’. We were never combative about it. We’re actually pretty tame. There are twins who go through this mental awakening whereas we were just like ‘meh, I like this, you like that’. Although we were also careful not to step on each other’s toes. At the same time, I don’t like photography for example; I don’t personally like doing it. Even if Cole hadn’t started his photography, I wouldn’t have picked it up. If I started doing photography after he did it, it would seem bizarre.


Would you say that you’re quite opposite characters then?

I think yes and no. I mean, we’re not super different, but definitely, enough so that we moved into different directions with our hobbies, for sure.


Hollywood is currently ablaze with sexual accusations left and right. Have you ever witnessed similar occurrences while on Disney?

I’ve never seen or experienced anything of that sort while I was on Disney. But my heart goes out to people who have. What’s giving me hope is that so many people are responding to it. So many people are speaking out, which is the first step in order for a major movement or change to take place. I’m hopeful, I have hope. In a way, I think it sounds bad right now, but actually, it’s a great time to be in the entertainment industry. The bad times were previously. Because people were literally being bullied into being silent. Now is the good time to be in this industry because this bullshit isn’t going to happen anymore.


What do you think people in the industry should do to in order to make it safe for both men and women?

I think that these occurrences are happening by and large because of individuals who are corrupt. The best thing that can be done is what’s already being done. But it’s also boycotting and taking a personal stance against artists that you don’t agree with. I hear the same thing a lot, which is ‘I really dislike them as a person but they make great films.’ Well okay – you shouldn’t watch them then. Because when you do, you support their personal habits indirectly. People are notorious for having really corrupt practices and we hold them as artists still. And without naming names, I would say – just stop.

How do you support good art and not support bad behavior if the two are intertwined?


You can be a good artist and not have a bad behavior. The two aren’t linked. I think people like seeing and talking about this idea of the ‘insane artist’. There were painters in the medieval period who used to cut people’s heads off and everyone went like ‘oh my god, he’s the best’. Okay, but at the same time, he’s cutting people’s heads off and you shouldn’t be supporting a guy like that. There are so many great artists in the film and television industry that don’t cut people’s heads off that you should support. It’s baffling to me how people support the movement and wear black at awards shows yet continue to support artists and filmmakers like these. It’s very hypocritical – take a stance and really stand by it. I think that way everyone can bring change to the industry from inside his or her household.


What’s your FAULT?

I’ve got an intense love of food – up to a point where that’s a fault. Because I’m not a chef and I’m not equipped to cook well and I’m also lazy. So I spend so much money on food that it’s becoming ridiculous.


 Interview: Adina Ilie

Photography: WOLAND

Hair and Make Up: Valentina Creti using Charlotte Tilbury


James Cochran EC3 – Michelin Star Chef Opens New Venue

As part of our festive guides, we’ve been roaming around London looking for the best places for you to dine in. With St Patrick’s Day coming up swiftly – line your stomach ahead of your favourite holiday’s drinking fest at James Cochran‘s newly open restaurant in East London.

The Michelin star chef recently opened his new venue and the menu is nothing short of awe-inducing. Mixing his expertise as a culinary expert, Cochran coined a multitude of dishes inspired by traditional British Cuisine, but with an exceptional modern twist.

For 2 people, we highly recommend the Vegetarian tasting menu and the A La Carte testing menu with a side of white wine. As far as the wine goes, James Cochran‘s fantastically trained staff is the best to reach out to in terms of recommendations. Apart from the stellar food, the staff is also incredibly helpful and highly well acquainted with the needs of the customer.

Both tasting menus come with 6 dishes each – do not fret as they’re small in size and big in flavour! I suggest that it’s best if you share them in between 2 people, as you can have a taste of both worlds. There’s hardly anything to miss from James’s menu. As mentioned – 6 courses each for 2 tasting menus equal a total of 12 delicious dishes for you to enjoy. If that’s not a treat – I don’t know what is!

We’ve picked our favourites out of all – although it was a very difficult mission to accomplish.

From the regular tasting menu, what definitely caught our eyes and taste buds was the Cured Cornish mackerel, kombu, Szechuan, burnt butter, coal roasted turnip. The roasted turnip gives it a fresh touch and the cornish mackerel was cooked to perfection! Not that it needs extra stars, but it gets 5 from us!

As far as the vegetarian options go, the Jerusalem artichokes, mushroom marmalade, crispy hen’s egg were absolutely awe-inducing. It’s incredible how James Cochran managed to be such a versatile chef – combining British cuisine with a multitude of external influences, leaving the end result in something worthy of applause.



Here is the full menu below:

6-Course Tasting Menu- £60


Warm Cornish rock oyster, smoked bacon foam, rosemary butter


Cured Cornish mackerel, kombu, Szechuan, burnt butter, coal roasted turnip


Charcoal roasted Harrietsham leeks, onions, miso, sorrel


Celeriac, apple, winter truffle, douglas fir


Roast haunch of Berkshire venison, pumpkin puree, ginger foam, smoked

bone marrow, pickled mushrooms


Chocolate, nougat, peanuts, caramel, banana ice cream



Selection of British cheeses, oat cakes,fruit loaf

6-Course Vegetarian Tasting Menu- £50


Salsify fritter, whipped Ragstone goat’s cheese, olive crumb


Charcoal roasted Harrietsham leeks, onions, miso, sorrel


Cheltenham beetroots, grains, pomegranate, goat’s curd


Jerusalem artichokes, mushroom marmalade, crispy hen’s egg


Celeriac, douglas fir, winter truffle, apple


Baked walnut tart,pear, burnt butter, frozen walnuts, goat’s curd


Selection of British cheeses, oat cakes,fruit loaf

James Cochran is open for Lunch from 12 to 3pm every day apart from Sundays and Saturdays. Dinner can be served from 6pm to 10pm every day apart from Sundays. We suggest you book quickly as it’s very busy this time of year. 

Hello Fresh – Say Hello To Your New Healthy Lifestyle

If you’re struggling with your new year’s resolutions to maintain a healthy eating diet, then Hello Fresh might just be the answer to all of your problems. The food delivery service is ranked as the best in the UK and our team can now testify in its favour!


We’ve tested out the Hello Fresh boxes for 3 weeks straight and the only downside is that they’re genuinely addictive. We’ve opted for 3 types of boxes – The Rapid Box, The Veggie Box, and the Classic Box. Each box contained 3 recipes and all the ingredients for them for the entire week to feed 2 people. Delivered straight to your door, they’re heavenly for busy professionals.


Here’s our play by play for each regime:

The Rapid Box – 20-minute recipes for the busy bee


This one was my favourite by far. First of all, there were recipes in there that I had literally no idea they were so easy to make at home. Everything was laid out in front of me, the prep time was minimal and the end result way utterly satisfactory. I can’t put into words how much this has influenced my overall eating habits and how much I’m going to stick to the plan.


Thai Green Chicken Curry


Who doesn’t love a curry? Come on, let’s be real now. Cooking time 20 minutes too. It would be audacious not to have a watery mouth just by typing that. The Thai Garnish and coconut milk are the actual troopers and superstars of this recipe. It’s not fresh and it’s not a guilty pleasure either. You can basically feel the healthy vibes come out of the pores of your skin. It’s an exhilarating excursion for your taste buds. It would be classified as cruel not to at least give it a go.


Mexican Spiced Halloumi


Another tricky cooking venture for the enthusiast here. I’ve never had halloumi at home because I knew for a fact that I’d butcher it into an unrecognizable type of cheese. Not with these instructions though! I’ve managed to successfully create my own spiced halloumi with a side of quinoa (which I adore) and black beans. My advice would be not to add any type of salt to this recipe, as it’s already quite flavoury and tasty from the ingredients that it comes with. Do however serve it with the side of rocket – it’s giving it that fresh tasty boost that all dishes should have.


Creamy Prawn Spaghetti


Probably my all-time favourite because of the cooking time and the endless savory result. I’ve taken this one out for a dinner party as well and although the ingredients were for 2 people, I can safely say that I’ve fed 3 of my friends and none of them left the house starving! So bonus points for the pasta and prawn combo – killer!






The Veggie Box – Heaven for Vegetarians.


Quickdraw Quesadillas


This one was a toughie – merely because the cooking time for vegetables apparently is longer than meat. But the end result is awe-inducing. My first home-make vegetarian quesadillas were absolutely incredible and for once I managed to throw a dinner party and not have people leave with food poisoning. It’s been a gift. They should call that one ‘The Gift Recipe for too undertalented chefs’



Fragrant Aubergine Curry


This flavoury curry has its base in the aubergine. Partnered up with coconut rice and a lot of chickpeas, it’s heaven for the passionate vegetarian. The flavours come from the multitude of fresh ingredients that go along with it. I’d say that this recipe is definitely one for the weekend – the cooking time took me a little more than it was listed on the recipe box – approximately 55 minutes, given that I’ve decided to add a little extra vegetable stock to the curry in order to give it more flavor.


Frech Style Lentils


Mais oui – je voudrais more! Quite likely one of my favourite recipes to date, it’s the crème Fraiche and tarragon that ultimately pushed this one to the top of my list. It’s very fresh, in spite of the lentils (which can be quite heavy sometimes) and it’s also a fantastic addition to your meal plan. Having a week of vegetarian experiences definitely has switched my diet and I’ll give myself some extra bonus points for actually managing to stick to it.


The Classic Box


Sicilian Caponata


Oh such flavours, such delights! This recipe was very light, it’s one that I’m going to save for spring days when it’s not quite warm yet. Very balanced in terms of ingredients (aubergines, red pepper, pine nuts) and also comes with treaty cheesy garlic bread that you can make yourself at home.



Pan Fried Pork Loin

I was definitely thrown out of my comfort zone when it came to the recipes for this box. Firstly, I’m only used to cooking chicken or seafood and when I got the pork recipe I was utterly horrified. How am I supposed to cook this??? I kept asking myself. Very. Easily. Actually. You just throw it in the pan, 2 mins on each side until its no longer pink on the inside and that’s that. It was just that simple. Furthermore, it was also my favourite recipe to make – I’m definitely going to reinvent it time and time again.



Creamy Prawn Spaghetti


Probably my all time favourite because of the cooking time and the endless savoury result. I’ve taken this one out for a dinner party as well and although the ingredients were for 2 people, I can safely say that I’ve fed 3 of my friends and none of them left the house starving! So bonus points for the pasta and prawn combo – killer!


King Prawn Spaghetti


This was a tough one because it battles with the Creamy Prawn Spaghetti. I’m having troubles picking in between the two mainly because they were both absolutely spectacular. Not to mention super easy for someone who barely knows how to cut bread properly. I’ll leave you with this though – try them both and choose for yourself!



As an overall statement – I’d say that Hello Fresh knocks it out of the park. It’s very easy to get addicted to their services. Today was a sorrow day when I did not receive a fresh box and I’ve gone straight and signed up for another month of heavenly meals. They’re super quick to make, super easy and apart from that – they save you time and hassle. The recipes are explained so thoroughly by the perfectly designed plans that it’s quite difficult not to manage them properly. Alas – I am not a cooking expert, yet I haven’t set my kitchen on fire. Goes to show, doesn’t it? Try it out for yourself – your tummy will thank you for it!


HelloFresh delivers ‘cook from scratch’ meal plans straight to your door, with easy-to-follow-recipe cards and high quality, pre-portioned fresh ingredients. By taking the usual hassle out of food shopping and meal planning, HelloFresh helps you to save time and spend it with your loved ones. It also helps you to live healthy, master your cooking skills and reduce food waste.


ERA 50:50 – The Time for Change

Gemma Arterton ©Sophie_Mutevelian

The #metoo movement has been challenging all industries. Along with it, it’s time to raise all the important questions that women have been faced with for decades.


Last evening, ERA 50:50 – Equal Representation for Actresses – a movement of actors and actresses set up in 2015 by Elisabeth Berrington and Polly Kemp – hosted an incredible array of talks in partnership with Spotlight and Equity – currently the most poignant platforms in the industry that represent talent on screen.


In 2018, women represent more than half the population on the planet, yet on screen, they are still misrepresented in numbers as opposed to their male counterparts. The statistics say that there are twice as more men cast into roles as opposed to women, and the numbers rise nearly up to 3:1 for children’s television. Moreover, apart from taking up less physical space than their male co-stars, actresses also have predominantly less screen time, speak less and are also written by scriptwriters into secondary or supporting characters. In a day and age where women have more to say, they’ve got less space to do so.

James Nesbitt ©Sophie_Mutevelian

Last night, ERA brought together more than 200 of the most influential people in the entertainment industry and called for the tides to change. It takes a village – from producers to casting directors and writers, but the most important thing is to raise awareness over the issue.


Last evening’s supporting guests included Olivia Colman, Gemma Arterton, Lily James, Gemma Chan, Miles Jupp, Doon Mackichan, Ophelia Lovibond, Amanda Redman, Tobias Menzies, James Nesbitt, Philip Glennister, Stephanie Cole, Imelda Staunton, Shazad Latif, Jim Carter, Jess Phillips MP, Tulip Siddiq MP, Tracy Brabin MP, and Founding Leader of the Womens’ Equality Party, Sophie Walker. All the above are pioneers in their respective industries and showed their support and dedication to a cause that we all should stand behind.

Gemma Chan, Moira Buffini, Gemma Arterton, Emily Berrington, Lily James ©Sophie_Mutevelian


Olivia Colman introduced the evening before handing over to ERA 50:50 who showcased alarming statistics regarding the way women are misrepresented on screen.


The aim is to raise enough awareness so that by the year 2020 we can see equal gender balance on screen and a 50:50 gender balance across the yearly content in film and television.


Entertainment is the most powerful tool in today’s consumerism. As Hollywood aims to hold a mirror to society through its depictions of human stories, it’s pivotal that these stories accurately represent women as a poignant source of currency and power. I want my daughter to see herself on screen and not as a Disney princess.

Olivia Colman ©Sophie Mutevelian

Characters with authority are predominantly male. For the time being, we’re indoctrinating another generation to believe that women aren’t as valuable or as interesting. Weight and age are other factors that influence heavily how much work actresses are getting. The reason Three Billboards is so refreshing is that Frances McDormand walks bare-faced and unashamed as a character while being her 50-60-year-old self. It’s a palpable relief that she exists and is able to have such a strong influence, especially after how well received the film was at the Golden Globes and the BAFTAs.


So what are the solutions? Here’s what ERA is actively proposing to producers, casting directors, production companies and everyone responsible for content creation:


Seek out female writers

Use your influence

Cast 50:50 background artists

Safeguard women in the workplace

Commit to 50:50 writers’ rooms

Commit to 50:50 onstage representation

Fund 50% female talent

Educate the next generation of content makers

Use job vacancies to achieve 50:50

Serve your audience

 Female-led films make money!



These are all solutions that can be implemented easily within any production house and with minimal hassle. It is actually illegal not to offer equal opportunities to both men and women alike.

We leave you with some of the most poignant quotes from ERA’s incredible array of speakers.


Ophelia Lovibond: “It is happening, I feel there is a seismic change and it is so exciting. I feel so invigorated and honoured to be a part of it.”


Tobias Menzies: “Shifting preconceptions of what gender representation should be in our industry was the invitation of the night…asking us to go back to our spheres of influence and talk about it where we can.”


Miles Jupp: “On the News Quiz, over 8 series, half of our guests have been women, half men. We made a decision, we stuck to it – so could everyone. Even if you only have a little bit of power, make positive use of it.”


Jess Phillips: “In 2018 it seems bizarre that we don’t have a representative media.

It’s not even a woman thing it’s a society thing.”



Most importantly, ERA is a campaign that is funded by the goodness of your hearts, so head over to and donate. Do it for yourself and for the next generations to come.


Swarovski showcases an array of effervescence at the Russian Ballet Icons Gala 2018

Warrior of Light world premiere at the Russian Ballet Icons Gala 2018. Photo credit Daniel Kulakov

Celebrating the 200th anniversary of Marius Petipa, the master of Russian ballet, the English Opera House hosted an incredible set of performances from the world’s most known ballet dancers in order to celebrate the master’s bicentennial.

Swarovski sponsored the production of the costumes that stunned the audience on Sunday evening for the world premiere of Warrior of Light. Gracing the stage, we had the pleasure of witnessing the spectacular talent of Maria Sascha Khan, Nadia Khan, Nicholas MacKay under Julian and Nicholas’s MacKay stellar choreography. All dancers were donned in Theresa Khan MacKay’s stellar costume design featuring carefully embellished Swarovski crystals in awe-inducing patterns.



Warrior of Light world premiere at the Russian Ballet Icons Gala 2018. Photo credit Daniel Kulakov

The programme of the evening also included the eponymous Don Quixote, Swan Lake, La Sylphide and also a world premiere of Warrior of Light. Gracing the stage with sublime examples of the theatrical craft were some of the prime figures in contemporary and classical ballet, from rising stars to established talent.

Ballet is rightfully considered as one of the symbols of Russia and the diverse nature of the programme and the performers all united under their love of dance. From established stars to new talent, the Russian Ballet Icons is one of the most poignant events in the cultural life of the British capital.

Warrior of Light world premiere at the Russian Ballet Icons Gala 2018. Photo credit Daniel Kulakov

Since the year 2006, Ensemble Productions has brought the Russian Ballet Icons Gala to London and the show at the Coliseum has become a hub for culture lovers. Stars of the Bolshoi and the Mariinsky – but also the Royal Ballet and the leading companies of Europe have joined forces for more than a decade to celebrate the strength and creativity of Russian artistic traditions.

Ballet is one of the most powerful images of Russia and its accurate representation depends on everyone involved in the production – from the Orchestra to the Décor to the Costumes. Swarovski has managed to transform a world of fantasy into a reality to graces the stage. A spectacle of light emerged during the world premiere of ‘Warrior of Light’ when an array of incredibly crafted and carefully embellished costumes adorned the frail yet powerful bodies of the dancers.

Warrior of Light world premiere at the Russian Ballet Icons Gala 2018. Photo credit Daniel Kulakov

The evening was an all-encompassing celebration of art, culture, tenacity that culminated in an exhilarating experience worthy of repeat – celebrating everything that Russian decadence represents.

Coverage: Adina Ilie


Words: Chaunielle Brown | Images: Liana Vine

The Woodhouse Army never fails to strike a nuclear and revolutionary chord with collection presentation. This season is no different. Designer Julian Woodhouse continues to surprise and  push the fashion boundaries for menswear while creating echoing staple statements that run concurrently with the society dailies we presently swim and endure in. Marked with traditional army fatigue and bomber jackets, splashed finishes of fur and liquid leather with baseball and beanie caps come strapped on for security. Accompanied by footed favorites, Dr Martens, Woodhouse advances on with strength and unity and encourages the commander in chief in us all. As Julian Woodhouse puts it, “Imagine if we viewed ourselves as a collective society. Imagine our possibilities…Imagine just how far our civilization could venture, together.”

How To Choose The Right Beauty Products for Different Climates



When it comes to beauty and makeup, the weather is one thing that women can’t control — but we can be prepared for it. Realistically, the weather can be forecasted accurately a maximum of 10 days in the future, as discussed in The Washington Post; however, that gives us girls plenty of time to stock up on the right products that will keep us looking good through any condition. But what exactly are the right cosmetics to get your hands on for each weather forecast? Here are the items you should keep around for that particularly dry, humid or rainy day.


It may not seem like a surprise, but dry weather means that there is little to no moisture in the air, which can quickly lead to dry skin. Whether you’re living in dry climates or traveling to a desert-like destination, your No. 1 beauty priority should be taking care of your skin. Swap out your foamy facial cleanser for something more gentle on the skin that doesn’t take out the moisture, and make sure you apply facial and body lotion right after getting out of the shower so the moisture can really seep into your skin. Instead of a foundation, use a BB cream that has sunscreen and moisturizing elements in it. Lastly, keep a lip balm close by as your lips are usually the first to be affected by dehydration and dry weather.


In the heat, makeup tends to move around and smudge a lot. To minimize this reaction, start with an oil-free moisturizer and add a primer base to your makeup routine — this will help hold make up together for longer. Generally, you should stick to the motto “less is more” in hot weather. Use a tinted moisturizer, concealer and powder foundation, and stay away from thick, creamy layers that will leave your face looking extra shiny in the heat. For those of you who love wearing lash extensions, be mindful of the type of lash extension glue you use, as its effectiveness can be affected by the humidity in the air.


Rainy weather can wash away your makeup in a few quick minutes. Stylecaster recommends rubbing your makeup into your skin when it’s wet outside, rather than just leaving it sitting on top of your skin, to help keep it in place. Just as you should do in humid weather, using a primer base is a great way to add an extra-strong hold to your makeup, and avoid it seeping away quickly. When you are faced with a rainy day, be sure to reach for the waterproof mascara in your makeup bag, and skip the shimmer and shine products, as the matte look is much easier to maintain when water is present, says Stylecaster.

Whether you’re off to work, on a girls outing or going on vacation, we never want inclement weather conditions to get in the way of our day — or our makeup. Our beauty routine can be vital to how we’re feeling, so make sure you’re prepared for any climate by following these tips.