‘Big Time Sensuality’ – Massimo Zanusso’s FAULT

 

Vintage Comme Des Garcons

Vintage Comme Des Garcons

Jacket & Trousers: Mauro Grifoni Shirt: Acne

Jacket & Trousers: Mauro Grifoni
Shirt: Acne

Smoking jacket: Giuliano Fujiwara Sandals: Marni

Smoking jacket: Giuliano Fujiwara
Sandals: Marni

Trench: Giuliano Fujiwara Hat: Archivio

Trench: Giuliano Fujiwara
Hat: Archivio

Shirt: Eton Jacket: Prada

Shirt: Eton
Jacket: Prada

Trench: Comeforbreakfast Jacket: Mauro Grifoni Trousers: Maison Martin Margela

Trench: Comeforbreakfast
Jacket: Mauro Grifoni
Trousers: Maison Martin Margela

 

Trousers: Dior Homme Shoes: Vic Matie'

Trousers: Dior Homme
Shoes: Vic Matie’

Hat: Borsalino Jacket & top: Comeforbreakfast Trousers: Dries Van Noten

Hat: Borsalino
Jacket & top: Comeforbreakfast
Trousers: Dries Van Noten

 Photographer: Massimo Zanusso

Stylist: Ilaria Chionna

Makeup: Giovanni Iovine @ W-MManagement

Hair: Marco Minunno @ W-Mmanagement

Model: Helena B @ NEXT

FAULT Future: actor Luke Newberry ‘In the Flesh’

Having worked alongside the likes of Maggie Smith (The Quartet) and Keira Knightley (Anna Karenina), at just 23 Luke Newberry has already rubbed shoulders with acting royalty. The classically trained star of the new BBC zombie series In The Flesh spoke to FAULT about acting since infancy, being on set with his idols and two exciting TV projects.

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FAULT: What made you decide to go into acting?

Luke: I grew up in a house in Devon and we had this room out the back that my older sisters would dance in. I just decided at about the age of 5 to take it over and make it into a theatre. I was a tiny little producer, actor and writer. My dad would take me to hardware shops to buy materials and he would help me build the stage up, then I would write a play. I became interested in filmmaking as I got older and I used to shoot short films in there. I got an agent in London when I was about 7 and started working as a child actor.

You went to drama school, which seems to be less of a normality nowadays – how important was the experience?

It was, definitely. I don’t think it’s necessary but I really wanted that kind of training and it really gets you fit both physically and vocally. It gives you great tools that, especially in theatre, are really essential. Weirdly The Bristol Old Vic, where I went, was always somewhere I wanted to go and its alumni, like Daniel Day Lewis, were always an attraction. I also fell in love with the big Victorian houses – it’s quite romantic.

You’ve acted alongside some huge names with roles in The Quartet and Anna Karenina – what was it like being on set with the likes of Maggie Smith and Kiera Knightly?

It was really quite surreal. I had this crazy moment where I was sitting in the sun on those fold out chairs and it was just me and Maggie Smith and she was with a parasol and an espresso and I just thought, Wow! This is strange, should I be here? But they always made me feel very welcome. Being on the Anna Karenina set with Joe Wright was amazing ‘cause he’s one of my favourite directors. I’d come onto set and there stood Jude Law and Keira Knightly – I was so nervous!

Tell us a bit about your upcoming BBC zombie thriller In The Flesh.

It’s a new script by a brand new writer called Dominic Mitchell and directed by Johnny Campbell. It’s about a guy called Kieran, who I play, who has risen from the dead 4 years before it starts in a freak uprising where everyone who died in 2009 mysteriously returns and does the whole zombie thing – eating peoples brains etc. They were all rounded up and contained in a treatment centre in Norfolk. Then the story starts just as Kieran is ready go to back to his family and his village. It’s set in this rural northern village and it’s essentially about prejudice. Kieran has to go back and try and fit into society and there are people who don’t want him around – there’s a whole vigilante group out to get rid of these imposters, as they call them. It’s zombies but the really story is about being an outsider.

Your character, Kieran, is both introverted, shy and rather human-like, and also dangerously bloodthirsty in his flashbacks – how did you master this duality?

It was strange. It was like being in a Jimmy McGovern drama. There were very normal days and then some days I would come in and put on my contacts lenses and prosthetic face and stuff so it was always extremes. It was about finding a balance so as to not make him a monster, although what he did in his flashbacks is pretty awful. It’s unrecognisable to him, which is why he can’t really understand it.

 

 

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Were you a fan of zombie movies or books before you started In The Flesh?

I don’t have a particular genre that I’m drawn to. I did grow up watching stuff like Death Becomes Her, which had that sort of living dead element. It wasn’t flesh eating zombies but more the human side of it – what it would be like to be slowly rotting, but alive. I find the whole idea about life and death really interesting.

You’re also in ITV’s new supernatural drama, Lightfields – tell us a bit about your involvement in that.

Lightfields is a story about a girl who dies in a barn in 1944 and it follows the lives of the families that lived in the house in 1944, then 1975 and then in the present day. She haunts the farmhouse through the ages and you see the ripple effect of certain events. I play Harry in 1944. She was my girlfriend and I try to figure out how she died and who might be responsible.

It’s very different to In The Flesh in that Harry is completely alive and not half alive and and it’s a period piece. Harry is a bit sweeter and quite charming, but he’s also got a bit of go in him. He’s devastated when she dies and that’s what drives him to find out who did it, whereas Kieran is very introverted and quite depressed and melancholy and then gets his fire as the show develops.

After Lightfields I went straight up to Yorkshire to film In The Flesh and the daily difference was amazing: up at 5, makeup for 3 hours and then a full day’s work everyday and night shoots too.

What has been the stand-out moment in your career so far?

I got to rap Tinie Tempeh with Billie Connolly being directed by Dustin Hoffman. I was listening to it on my iPod and then we went in for a take and I suddenly forgot the lyrics and then he did too and we just looked at each other and both sort of kept on muttering. Afterwards I said to Dustin, “I’m so sorry that was terrible,” and he was like [puts on American accent] “no it was perfect, we’re gonna use it!” It ended up in the film.

You’ve been both on the stage and in front of the camera – any preference?

I’ve done more screen stuff since I left drama school. I did Antigone at The National and that was really surreal. I had the Olivier postcard of the auditorium on my wall through drama school. It’s my favourite theatre! I was playing Haymen with Chris Eccleston as my dad – again, another nuts experience. I only realise when doing interviews the amazing things I’ve actually done!

I love the intimacy of film but then you don’t have the energy and the electric feeling you get from a packed auditorium.

Who would you most like to work with in the future?

Wes Anderson – I loved Moonrise Kingdom, it was quirky and brilliant. I would really love to work with Nicole Kidman and play her son. That would be a dream. Lars von Trier is another. And Baz Luhrmann produces visual orgasms!

Do you get star-struck?

No, not usually. I’m sure with some people I would be though. It’s strange when meet someone you’ve only ever scene on billboards or on screen. They have this otherworldly thing about them that then makes it difficult to talk to them as if they were just another person.

Any exciting plans in the works?

None that I can divulge, unfortunately.

What is your FAULT?

I drink too much tea 

Words: Rebecca Unger

 

 

À la carte – Stella Bonasoni’s FAULT

 

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Body: Individuals
Shoes: Premiata by Eva Turner
Sunglasses: Cloister

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Body: Individuals
Shoes: Premiata by Eva Turner
Sunglasses: Cloister

 

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Dress: Eleonora Niccolai
Necklace & cuff: 0770

 

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Dress: Eleonora Niccolai
Necklace & cuff: 0770

 

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Shirt dress: Italo Marseglia
Body: Individuals

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On and On Shorts via Styligion.com

 

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Swimsuit: Individuals
Shoes: Saint Laurent Paris
Hat: stylist own

 

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Dress: Italo Marseglia
Sunglasses: Lotho

 

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Dress: 0770
Eyemask: Tout Court Moi

 

photographer: Stella Bonasoni www.stellabonasoni.it

concept & styling: Alessia Caliendo www.alessiacaliendo.com

make up artist: Isabella Sarti www.isabellasarti.com

hair stylist: Valentina Zanerini www.untilthelastsnowpocalypse.tumblr.com/

model: Zorana Adzic @2morrow

FAULT Feature: Kiwi singer-songwriter Gin Wigmore

FAULT spoke to the equally tattooed and talented singing sensation about her road to the top of the charts in her native New Zealand, and how her hit song ‘Man Like That’ made her a Bond girl.

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FAULT: You’ve recently finished your UK tour. Which do you prefer – touring or being in the studio?

Gin: Both equally!

You started writing music from a very young age (14). How important is it to have a sense of perspective looking back at your song-writing history – as opposed to being a newcomer to the writing process?

Yes and no. I waited till I was older though, to start properly making music. I didn’t really get into professionally it until I was about 20/21 so I got that time to grow up and mull around, which was definitely a good thing.

A lot of your songs have such a personal history; what is it like to work with other people on production for those personal musings?

No, because I think when you write a song it’s very personal and you can hold onto that moment, but once it gets recorded it takes on a whole new life. The personal moment never leaves but the song goes out into the big wide world and becomes other people’s experience and helps to enrich their lives and for them to deal with their own personal issues.

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You’re a multiple number 1 hit-maker back home in New Zealand. How hard will it be to repeat the trick in Europe or the US?

It’s not a big deal for me to get number 1 again. The most important thing is being able to play shows and that people turn up to and enjoy. I’m focused on just consistently touring and making good music and if it works it works. There’s no trick or sole purpose in life to get number 1. Just play shows and have fun!

Who makes better pop music – the UK or the USA (generally and/or at the moment)?

I don’t really listen to top music these days. Back in the 60s I would say the UK. They were making great pop music – The Beatles were awesome!

Tell us about your personal style. Your wardrobe changes quite considerably between the flamboyant and the understated in your videos – which (if either) is the “real” Gin Wigmore?

I don’t walk around dressed like I am in ‘Man Like That’ walking to shops or anything. My personal style is definitely more understated. Videos are times to have fun, dress up and play around.

We love the video for ‘Man like That’. How did you come with the concept for that?

I always start thinking when I’m writing a song what I’m going to do with the music video. I thought to myself, I really want to do video where I’m dancing and being silly and stupid and not taking myself seriously. I decided to do a little Charleston kind of Black Bottom dance. It’s an old street dance taken from what cows do when they get stuck in mud. Had a little dance lesson, put on a little dress and away we went.

Speaking of “Man Like That”, it was, of course, used recently for the Heineken ad that tied in with Skyfall. How did that come about?

That was my music publisher. They pitched song to the ad agency and we were kept waiting for month to find out where I was going to get it. We drank a shitload of Heineken and hoped and prayed and finally we got the call, came out to London and shot it!

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Who are underrated at the moment, music-wise? Who is over-rated?

Underrated: Anthony and the Johnson – he’s great! Overrated – Nickleback.

What is your FAULT?

I still bite my nails.

Words by Rebecca Unger; Photography by Annick Wolfers. Special Thanks: Shoshanna Stone

FAULT Focus: French Street Art – Rubbish

In the third and final instalment of FAULT Online’s series of interviews with Parisian street artists, we spoke to Rubbish.

French street art has always had a measure of old-skool care and craftsmanship about it, whether its Space Invader‘s subtle, video-game-inspired placement of coloured ceramic tiles or Shaka‘s massively scaled (and impressively painted) figures. It has earned the artists themselves a measure of tolerance from local authorities, even support. One of the more visible examples is le M.U.R., an eight-meter by three-meter wall erected by the city council in the Oberkampf neighbourhood of Paris, for which individual artists are invited to create works that promote a wider appreciation of street art.

Rubbish’s intricate, lace-like cut-ups, which are often so delicate that they begin to dissolve almost as soon as they’re pasted up, especially during a damp Parisian winter, have gained the 32-year-old artist mainstream cred’.

The piece he came up with for le M.U.R. was so big that he required two assistants, one of whom spent most of a cold late afternoon and early evening at the top of the highest ladder – because Rubbish is scared of heights! Fortunately for him, more and more of his work is being sought for the walls of mainstream art collectors: in November, last year, his first solo show, Paper-Cut, at the Cabinet d’Amateur Gallery in Paris sold out.

 

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Do you still think the street is the best place for an artist to show their work?

Of course! For me, every opportunity I’ve had started on the street. My goal from the outset was to eventually exhibit in a gallery but also to have fun, take risks and get a rush of adrenaline on the streets.

Before you got into art you were in a band called Dirty Rubbish. What encouraged you to switch from music to art?

I realized that I’m better at art than music [laughs].  I started doing my cut-outs three years ago, just for fun. In my small town [he comes from Besançon, not far from the Swiss border, in eastern France], street art didn’t exist. I started with the commonest media: stencils and spray paint. I didn’t have any soul at the time and I mainly tagged rubbish bins…

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I thought your name, Rubbish, was taken from the band…

Yeah. And because I make a lot of rubbish when I do my cut-outs…

Your work these days is large and very finely detailed. What does it involve?

I can spend hundreds of hours on one work, especially if its large. I begin by drawing it out on large sheets of white paper, then I cut it, which is a painstaking process – I’ve probably spent thousands of hours doing it. Once I paint it,  it’s ready to be pasted on the street or on a support in a gallery

What are your sources of inspiration?

The Beat Generation is certainly one – I once did portraits of three of its greatest figures. I’ve studied a lot of art history, especially the Renaissance, which fascinates me, but I draw a lot of ideas from Art Nouveau as well as from mythology – and my own dreams.

So what’s next?

I’ve been invited by Space Junk, an art center in Lyon, to create an ‘intervention’ in the the city’s 1st arrondissement.. Then I have another exhibition in March with two talented street artists, Pole Ka and Tristan Des Limbes.

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Read the rest of our FAULT Focus series on Parisian street art:

FAULT Focus: An Introduction to Street Art in Paris

French Street Art – Le Diamant

French Street Art – Madame Moustache

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Words and images by Cheyenne Tulsa

FAULT Focus: French Street Art – Madame Moustache

In the second instalment of FAULT Online’s series of interviews with Parisian street artists we talk to Madame Moustache.

The large black and white collages of Madame Moustache are among the most readily recognisable of Paris’s eclectic proliferation of street art. Following a sell-out solo exhibition of original works at d’Hotel Manufacture in Paris, late last year, and another opening at Le M-Market, part of Marquise Cafe, next week (February 3rd), the 31-year-old actress-turned-artist has now adapted what she pastes on walls in Marais, Montmartre, Belleville, Menilmontant and Oberkampf  – cut-ups of vintage newspaper typography mixed with pictures from ’60s and ’70s girlie mags – to a successful range of Madame-branded t-shirts and tote bags.

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You only started making street art a couple of years ago. What were you doing before that?

I come from an artistic family. My grandfather and father were both painters but I decided at a young age that I never wanted to do anything that involved art. I studied theatre for seven years and I worked as an actress in France and Italy. But I was a really bad actress so I gave it up and travelled for a year through North and South America.

How did you come up with the name, Madame Moustache?

When I was eight years old, my grandmother told me I was ugly. I held that inside of me. Growing up, I never thought of myself as pretty. Even when I was older, I didn’t see myself as a women but a shy girl. I was very insecure. When I began to paste stuff on the street, it was more politically correct to address girls as madame instead of mademoiselle because after all, young boys don’t have another form of address. It was something of a feminist controversy. I thought it was so stupid that they kept talking about the use of  these two words but I also thought,. “Okay, I’m a madame but I feel like a tomboy. So Madame will represent what I am and Moustache will represent how I feel.” All my friends are men and sometimes I act like I have a moustache too. [laughs]

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Street art does seem to be male-dominated. Is it harder for a female to be taken seriously as a street artist?

From my point of view, being a girl and coming to the streets is hard. The guys laugh at you but you give it back to them. It’s good though. for girl like me, when you have cute shoes and a small jacket on,  pasting stuff up that’s sometimes 4 meters wide. The guys take notice and concede, “Okay, that’s funny.” I think it’s really interesting that when you paste your stuff up and graffiti artists, who graf on everything, don’t touch your work. They know you’re a woman but they don’t do anything to your work. That’s when you know you’ve got respect.

With your online store and the attention your collages receive on the streets, are you interested in the idea of turning your name into more of a product?

I am always changing, always evolving. Right now I just do my collages because of how it makes people feel.  I like making people think about love and happiness. This is my ambition, not to be famous but letting people know that there is no limits and just have love for everything that you do.

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When did you start your Madame brand of t-shirts and tote bags?

I started my t-shirts exactly one year ago now but didn’t take it seriously until recently. A friend of mine came to my home and saw my work. She suggested that I start doing t-shirts and I thought it would be a good idea. I started out with just two or three t-shirts that I gave to my friends. We went partying with the t-shirts on and people started to come up to us asking where we got the t-shirts. I printed more and more t-shirts – and from t-shirts, I started making tote bags and signed posters of my work. I sell them all online at http://www.madamemoustache.fr/boutique-2

What do you normally wear when you paste on the streets?

Always casual, and comfortable when I go pasting. I like wearing classic clothes but I’m not into brands. I have a way of mixing ordinary clothes.. I may not do it in the right way but it’s my personal way: classic/casual I think.

madame moustache t'as de beaux fruits tu sais...

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READ THE REST OF OUR FAULT FOCUS SERIES ON PARISIAN STREET ART:

FAULT Focus: An Introduction to Street Art in Paris

French Street Art – Le Diamant

French Street Art – Rubbish

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Words and photographs by Cheyenne Tulsa

FAULT Most Wanted – for Men

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Junya Watanabe Quilted Jacket – buy here

Sibling Leopard-Print Jersey Tee – buy here

Ben Sherman Blue Dial Watch – buy here

Saint Laurent Slim Fit Denim – buy here

Alexander McQueen leather iPad case – buy here 

Adidas AR 2.0 Trainers – buy here

 

FAULT Feature: palmer // harding

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Christy’s “Panthera Onca” image used as the invitation to their LFW presentation

This self-proclaimed ‘anti-fashion’ design duo find beauty in the simple things. Amidst the flashy fabrics and bold colours that dominated London Fashion Week, palmer // harding’s quietly stunning designs were a breath of fresh air. Levi Palmer spoke to FAULT about the concept behind their latest collection, their collaboration with photographer Christy Lee Rogers, and why he and his partner have chosen to buck the trend.

Christy is represented by The Art Collector (an art platform that is part of the same media group as FAULT) and FAULT featured art dynamo Fraser Kee Scott.

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Where did you get your inspiration for the collection?

When Matthew and I were thinking about the collection we pulled references from things that we just found inspiring – beautiful images – then we put all these images together and sort of dissected them and tried to understand them. We saw that there was this contrast and conflict in all our references, especially Christy’s*, and how there is this deep emotion and this deep beauty but at the same time this darkness. That helped to lead us in a lot of directions – the idea of fluidity and the austerity. It worked its way into the idea of beginning as something very austere, like what presidential wives wear, and then moving into something more poetic and bohemian.

Then you have other things in terms of textures like the tar fabrics, which are quite sticky, but then you have the purity of these beautiful cotton USA fabrics that are just so sumptuous but still very clean and innocent. For us it was a real pleasure to be able to use Christy’s work on our invitation because it was one of the main images that we were looking at constantly. It represented those dualities in one single piece.

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How did you come up with the idea of these beautiful French knots which feature in a lot of your pieces?

We always like the idea of craftsmanship and French knots were something that we really loved. We worked with this amazing manufacturer and just kept saying “bigger, bigger, bigger.” It was quite interesting because it sort of reminded us of the bubbles in Christy’s work.

Your work is very simple in comparison to a lot of the things we see at Fashion Week – almost, ‘anti-fashion’, to use your words.

It’s ‘anti-fashion’ in the sense that for us, if you can’t wear it it’s not fashion. It’s really about not screaming and – we don’t want our clothes to be flamboyant. They need to be beautiful, they need to be stunning, but they don’t need to be like the rest of it. There’s enough noise, there’s enough print, there’s enough colour in London Fashion Week and sometimes people need a break. When you give them that sorbet, it actually sticks with them and that’s the piece that they remember.

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Do have any exciting upcoming plans?

We have some possible collaborations with some French luxury houses in the future which would be really exciting though I can’t confirm anything. We want to continue to develop the menswear range because right now it’s small in focus. But we want to make sure that we allow time to develop a consumer and to understand who our main consumer is before we push too far.

We definitely want to try and break into the menswear fashion season but because we’re such a small team, if it demands too much of our time we don’t want it to hurt either aspect of the brand. If we can get one aspect to be sustainable then we can start to sustain the next aspect. I think that’s very ‘anti-fashion’, to take such a sensible approach. It’s about business and it’s about creativity but it’s also about making smart steps and not letting your ego control decisions. For example, the reason our label is all lower-case is because its not supposed to be about us.

Check out the behind-the-scenes video of their collection:

http://www.youtube.com/watch?v=MdhL-4P1Lb4&hd=1

WORDS: Rebecca Unger