Beauty And Fashion: From The Roaring 20s To The New Millennium

Now as we move to the closing months of 2016, we can barely remember the beauty and fashion trends that we celebrated last year. We imagine that while things may have changed a little, they are minor variations on the same themes.

This year women are still welcoming new styles and the idea of fashion trends are getting more outlandish from one year to the next. We like change, refreshing change, and we rely on fashion to usher in something new and exciting into our lives.

Our beauty care concerns are pretty much the same as before. We still want flowing silken hair and like to use products like Dermaclara Complete to reduce the appearance of wrinkles. We also still drink plenty of water to keep our skin hydrated and try our best to stay in shape through yoga, Pilates, or running.

The fashion and beauty trends of the new millennium, from 2000 to the present, has always been an era of interesting choice and liberating self-expression.

Yet despite more choice than ever before, including the celebration of curves, we’re seeing a revival of many fashion trends that occurred in past decades, ranging from shoulder pads to wild prints. Still, we have a few unique contributions, like super-skinny jeans.

This fascination with choice extends into beauty trends, too. Hair extensions give women a chance to choose a wide variety of hairstyles, and makeup can range from coral to a natural look.

Interestingly, it’s hard to imagine that things have not always been this open-ended and free-flowing in past decades. In order to appreciate the contrast with how much things have changed, let’s take a trip back in time to the beginning of the modern era:

The 1990s

Kate Moss embodied the idealized body type, an androgynous, emaciated, tense look. Living on the edge was seen as the way to go. The grunge look was also in, with unkempt hair and flannel shirts considered edgy and fashionable. Tops that were short enough to sport midriffs were popular and pierced belly buttons made their first bold appearance.

The 1980s

This was the age of the Material Girl. Bodies were toned through the aerobics craze. Fitness was chic, and women who had a slim, well-toned look were considered to have it all. Everything was over the top. Big hair was popular, as were gaudy neon suits, enormous shoulder pads, and spandex. Make-up trends were equally over the top, with Madonna epitomizing just how much blue eye shadow it was fine to wear and Brooke Shields making bushy eyebrows trendy and seductive.

The 1970s

Farrah Fawcett pretty much outlined the trends of this decade. She was thin, but fit and toned. Her hair was just the right amount of wavy and feathery. Her clothes were loose and flowing. The idea of the bronzed look, reminiscent of a day in the sun on the beach became the look. Since everyone didn’t live in California, bronzers and self-tanning became the default way to look as if you had been out enjoying the sun and sand all day, even if you happened to live in Minnesota.

The 1960s

The 1960s were a sharp cultural dividing line between the conservative fifties and the liberal seventies. You weren’t thin unless you were Twiggy thin, and if you were liberal you sported the hippy look, with tie-dyed shirts and bell-bottoms. Still, if you didn’t want to go for the hippie-flower-child look, you could opt for the swinging woman style. Swinging women had short haircuts rather than the long-haired hippie look, and they also had fake eyelashes and mascara as opposed to the no makeup hippie look.

The 1950s

If the 1960s were characterized by a revolutionary view of things, the 1950’s championed conservative values. This was the era of Marilyn Monroe, a time when hourglass figures were considered perfect and a woman’s purpose on earth was to catch a good man and raise a happy family. For this reason, no self-respecting woman would go to the supermarket with sweatpants on. The casual look was considered sloppy. Hair was short and fell just below the shoulders, and it usually had soft curls or light waves. Flawless skin, a peaches and cream complexion, was considered the quintessence of feminine beauty.

The 1940s and 1930s

These two decades were fairly similar because they were considered the Golden Age of Hollywood. Women exercised and dieted to look good. Feminine curves were celebrated by Dior and Chanel, the glamorous designers of their time. Platinum blondes and red heads were popular, thanks to the influence of Jean Harlow and Rita Hayworth. However, brunettes were championed by Marlene Dietrich. Pasty white skin was considered perfectly acceptable and women used foundation that didn’t hide their natural complexions.

The 1920s

Think of Coco Chanel’s influence in fashion or F. Scott Fitzgerald’s literature about Flappers to get an image of The Roaring 20s. This was an era of the tomboy. Women even bound their chests with cloth to achieve a flatter look. Hair bobs were popular and powder was applied without reservation to make the skin look pale. Eyebrows were penciled to appear thin, lifted, and quizzical.

A journey back in time helps us appreciate how far we’ve come in terms of freedom of self-expression. We have more choice than ever before in beauty, fashion, and lifestyle.


FAULT meets rising star Malachi Kirby

‘Black Mirror’ is back on our screens. We sat down with south London native, Malachi Kirby, to talk about his role in a future episode and also his stellar performance in ‘Roots’.


‘Black Mirror’ is back! Some of the titles were teased online by Charlie Brooker, which episodes are you featuring in?

It’s called ‘Man Against Fire’. I think it might be episode 4 or 5.


The new episodes has a Marmite scene and of course there was the pig storyline, which both strangely mirror recent events. Just in case Charlie Brooker is actually predicting the future with this series, in regards to your episode and without giving the storyline away, is there anything we can do to prepare?

Ooh… without giving the plot away? Erm… I’m not really sure to be honest [laughs]. It’s something that I’m looking at and thinking, ‘OK, this is something that could possibly happen.’ I’m not quite sure how you would deal with it… apart from… just to… no, no, no… sorry. I can’t really think of anything.

Jumper - Markus Lupfer / Jacket - Quasami / Jeans - BLK DNM / Shoes - ETQ.

Jumper – Markus Lupfer / Jacket – Qasimi

For those who have never seen it, why should they watch?

Well, Charlie Brooker is amazing… the cast that he’s got for this particular series is incredible and the directors. They’ve really gone all out with this series and basically, his stories are very kind of technical. The whole series is about technology and how technology is effecting us as humans and the worst case scenarios that can effect us. I don’t know how to say this without giving it away, but it’s just really, really good writing. its one of those projects that is a passion project, so like, any actors or creatives that get involved with this, do it because they enjoy it. They are stories that are important, but they are also very well dramatised. Its one of those things that will definitely make the audience think and question. I feel like its one of those things you have to take in, in bites. Don’t binge on it. I think one episode is enough for 24hrs.


Charlie Brooker has been quite adamant that this isn’t a ‘message show’ and that it’s purely entertainment, but with things like this, you kind of cant help taking from it.

Charlie Brooker says it’s not a message show, but there is a lot to take from it. I think with him [Charlie Brooker] he’s not trying to tie it all up and make and kind of give us a solution to the problem, but he has definitely highlighted the problems. I think by highlighting the problem, it makes us think, but he doesn’t provide an ‘answer’ which I think is great, because it leaves it open to interpretation.

With it being Black History Month, I must talk to you about the remake of the 1977 classic ‘Roots’ and your absolutely stellar performance as Kunta Kinte. With ‘Roots’ being such a big film, for all races, were you hesitant, sceptical, or nervous about this project at all?

Before I found out that there were any auditions happening or that it was even being re-made, I watched the original two or three years prior. I had herd about it when I was younger. I’d seen it on TV, but I didn’t really appreciate or pay much attention to it and then my Mum formally gave it to me on DVD when I was about 22 and she said ‘Watch this’. About a year later I actually got round to watching it. I think i watched the whole thing back to back. I don’t think I actually stopped, I was just hooked. I had never seen anything like that in my life. It just blew my mind. so when the auditions came about, I was still processing what I had seen. I know the original was made in 1977, but I was thinking, ‘why are they doing this again?’ I’m still going around telling everyone to watch the first one. So when I heard they were making another one, I, like a lot of people, was very sceptical about it, because I felt quite protective over the subject matter. I think that definitely effected my first audition, because I spent more time worrying about if I got the part, than actually preparing for it. It was literally the worst audition of my life and I have no idea why they called me back, but they did and eventually after the screen test, I got to sit down with the producer, Mark Wolper, whose father produced the first one. He told me why this remake was important and why he wanted to do the series again and his reasons just kind of gave me peace. So I jumped on board, but it was the most challenging role I’ve ever played.


Jumper by Markus Lupfer, Jacket by Qasimi, Jeans by BLK DNM, Shoes by ETQ.



It is a very difficult series to watch. In terms of acting, which scenes were the most challenging, was there any particular scene that broke you?

[Long pause] Yeah, in the whipping scene… There were a lot of scenes that were hard, but the one that actually broke me, was the whipping scene. There were a couple of moments of the boat that were really hard too.


I read that you used that boat set for two whole weeks, so you were in that cramped, dark, dirty environment for two weeks straight?

 The boat was a real boat, but we weren’t out at sea. They built it to the actual dimensions of what it would have been at the time and they put 200 African people into this tiny hold and they chained them up – all of us together – and you’re just in this hole… and it’s dark and it’s wet and you’ve just got people crying and screaming and you’re there from sun up to sundown and it’s.. it’s… it’s just horrible. Not only for the actors, because you don’t even feel like you’re an actor at this point. I don’t even think you need to be an actor to respond to that, it’s just disgusting. For me, I didn’t want to come out of there whist we were filming. I wanted to stay in there for the whole day, because I just thought, the people that who would have actually been in here, would have been in here for three weeks before they saw daylight, so I thought the least I could do was stay in there for 24hrs or a day. I just wanted to get as close as I could [as safely as possible] to the experience Kunta Kinte would have had. So on lunch breaks I didn’t leave or eat, as my character was refusing food anyway. When the crew left and the cast left was when I really connected with that experience.That was the biggest thing I took from that. My character had been taken from home and even though he’s surrounded by people, he doesn’t know any of them, they don’t speak his language for the most part. So it was just that feeling of isolation.


Leather Trousers and Shirt – BLK DNM / Coat – Kooples / Shoes – CMMN SWDN

You mentioned the whipping scene – what was your experience with that like?

Before we started that scene, like a lot of the filming, I had no idea to prepare for it. I don’t know how you would begin to prepare mentally for something like that. Before we did that scene, I was praying. I asked God to help me, give me some kind of inspiration as to what he [Kunta Kinte] went through, what it would feel like. They were never actually going to whip me, but I needed to know what it would have felt like. It needed to be more than me just screaming and crying on camera, because it’s not just him being beaten, it’s his identity being stripped away. LeVar Burton who played the original Kunta Kinte, came up to me after the first take, we spent the whole day on this scene, but he came up to me and said, ‘He was a mighty child, I am a mighty man’, he hugged me and walked away and I have no idea why he old me that, but then I went back into it and those words just resonated with me, ‘I am a mighty man’ and it caused me to resist more than felt natural. We ended up making the scene with more than three times the amount of lashes that was in the original. I think there are 33 and the original had 9. He [Kunta Kinte] was going to hold on to his name for as long as he could and when he finally gave in, what I felt was that it wasn’t him giving up, but it was a form of survival, it was him thinking, ‘ok, I can resist and resist and resist and then die or I can tell them what they want to hear so that I can live to fight again.’ When I heard the whip cracking… there was a point where I lost my mind a bit. I just heard these screams, all these cries of all these people who had lost their identities. It was horrible. I just couldn’t get their cries out of my head and it broke me down. I don’t know how long we stopped for, but it was a mess. Basically, I was on the floor, I was in tears, I literally couldn’t get up for maybe 20mins, I just felt their pain and it was horrible. The first person that came over to me was the medic, which gives you an idea of the kid of state I was in… but I kept going, because I didn’t want to have to do this again the next day [laughs].

Jumper and jacket - Hugo Boss / Jeans - BLK DNM / Shoes - Harrys of London

Jumper and jacket – Hugo Boss / Jeans – BLK DNM / Shoes – Harrys of London

There are people who think ‘Roots’ should be shown in schools to children of a certain age, and there are those who have ‘had enough of slavery films’ at one point I think Snoop Dogg called for a boycott…?

I think it very much depends on the individual. I think this is something that should definitely be watched as a family, especially with younger children, I feel like there should be an adult there to answer the questions they would have after it. I think this could be very damaging to someone who isn’t prepared, but especially a chid. When you are watching a direct inslavement by white people to Africans, it’s very easy for a child to become traumatised by that, so there needs to be a conversation afterwards explaining that this was a long time ago, put it in context and give them perspective. In terms of telling more positive stories… I don’t know if I’m really strange, but I feel like this is one. I think that there is a lot of positives to take from this, I don’t feel like this is a story just about slavery, but about a people who didn’t give into it. The importance of family, who you are and where you come from. Slavery isn’t anything to be ashamed of. We survived it. There are many of races or ethncites who went though slavery and didn’t survive it. I think there are more stories should be told and it’s nothing to be ashamed of. There really aren’t ‘too many slavery films’ and we think we know the story, but we don’t! There is so much more to it than just being a slave. Black history doesn’t begin with slavery …or end with it.


Jacket - CMMN

Jacket – CMMN SWDN


Series three of Black Mirror is available on Netflix now. You can follow Malachi on Twitter.


Words Trina John-Charles

Photography Stephanie YT

Styling Indigo Goss @ ERA Management

Grooming Lillie Russo

Styling Assistant Plum O’Keeffe



A coastal tropic holiday treatment, captioned and framed so artistically painted, Christian Siriano presents us with candy desired coated colors illuminating springing surprises. Instantly removed and whisked away to somewhere off along the Italian waters, with welcoming golden light beams. Cherry reds, mystic teals, canary yellows, tantric tangy oranges, all monochromatic made, including traditional noir, chalky stoned white, and integral stripes, bell sleeves, open shoulders, and flared waving sleeves. All an enticement to invite you to dream a little dream, to walk this way, in hopes to forever stay.

Words: Chaunielle Brown


A Détacher‘s SS’17 delivered another collection that allows the consumer to find their own spiritual posture. Each look had an individual exploration into surface, form, and function. Monika Kowalska designed denim jumpsuits, leather culottes, feminine floral blouses with ruffles, oversized hoodies, and bathing suits just to name a few. The colour palette presented incredible range from bright reds and greens to blushes and browns paired with noted shoes and accessories.

Words & Images: Julie Green


With endless nights of elegance and fairytale dreamlike sequences, Jenny Packham dreams up stories fit for royal entrances and ultra feminine touches. Black and white sophistication, electric eccentrics, powder pastel pink dainty delights, rhythmic Moroccan nights, evening siestas and countless other travel intensive trotting possibilities. Packham creates looks for every single occasion, and every woman, packed with delicate details and mesmerizing picture made moments.

Words: Chaunielle Brown

Images : Richard DiFrisco

Bear Hands take a break from their US tour to chat about their forthcoming album

Here FAULT catch up with the lovely Ted Feldman from Bear Hands, who took a break from driving across America to have a chat. Bear Hands have been rocking the electro-indie scene for a while now, garnering some serious praise for their debut single “2am” and the follow up, “Boss”. They are currently a few weeks into a US tour with FOALS, and are releasing their new album, “You’ll Pay for This” on the 18th of November.



So, how’s the tour going, where are you right this second?

Yeah it’s been good so far, we’re in Tulsa, Oklahoma right now, about to drive up to Arkansa. But it’s a dreary day, we had a good show but we’re about to hit up some Midwestern cities, see what happens, but things are good.

I heard you had some issues with stolen gear, is everything back on track with you guys now?

Oh man, it was painful, it is painful. We were in Houston, we did fairly well in most American cities, we’ve been touring for a long time and things are good, getting better, but we’ve never really had a good show in Houston, but we did the other days opening for Foals, we had a great show, we hung out and it was a top Houston night. But somewhere between 5 in the morning, when one of us came back from a “top night”, discovered that our van trailer had been broken into and whatever assholes decided to do that took 6 guitars. Y’know, it coulda been worse, they could have taken everything or the whole trailer I guess, who knows. But it was all locked and “safe”, we thought it was safe. But I lost a guitar that means a lot to me.

But we’re okay, we’re cool to carry on. Y’know it’s one of those things, you always read about bands getting their stuff stolen and I feel like it’s almost a cliché to complain about it, we’re just another band that got their shit taken. But it does hurt, it sucks.

I guess you have that now though, at least it’s part of the story…

Yeah, I mean the other side of the coin is that everyone we’re with like the Foals guys, their whole crew have been really generous and offering to use their gear and stuff. A lot of friends reaching out, it’s been really kind. The positive is that people are generally y’know, kinda nice.

2am is such a cool track, really slick and it reminds me of the Sopranos intro. Boss is more raw, with that guitar hook that sounds like Gimme Stitches by the Foo Fighters – Is the rest of the album so diverse?

Yeah we tend to go all over the place and try to give every song its own flavour and the opening track of the album mixes those things pretty well and I hope that it sorta acts as an announcement or a warning for the rest of the album. We touch on a lot of different sounds and styles, I think.



So what was it like working with producer James Brown (Foo Fighters) and mixer Alan Moulder (Smashing Pumpkins, Nine Inch Nails, Foals) was it intimidating working with people who have worked with some truly massive acts?

Oh it didn’t bother me at all, it was exciting. James, we’ve worked with him before for a few years. He mixed our first two records, so he’s been a friend and involved so it wasn’t intimidating at all to work with him as a producer. And he’s also ust the friendliest, best dude to be around. That I spent 18 hours a day, every day for like 2 months was a pleasure, I love that guy. He also brought a lot of expertise and smarts and worked his ass off for that and I can’t be more appreciative of that. And yeah Alan Moulder mixed and that was… we’re all huge fans of his work, I was able to sit in on the mixes. He’s also incredibly kind and a gentleman. I feel like I was able to learn a lot just by sitting there and watching his process. Yeah, totally positive, and I think the record was better for his work.

How did you write this album, was it all whilst touring or did you set aside time to just jam?

This was the first time we were off-tour, we knew we were writing an album. Before, it’s always been between tours and jobs but this time we actually set out to write a record, and so I started by trying to treat it like a job, like 9-5 kinda thing. That failed, hah, not the vibe.

So, Dylan and I do the bulk of the writing, we both sorta do things on our own and then come together. The best sessions were when we sorta went to the woods and isolate for 3 days at a time and kinda knock it out a lot in one sitting. I feel like that immersion is what brings the most successful stuff, and lets ideas flourish.

Speaking of which, do you guys get stir crazy at all from touring? Do you still hang out as friends when you’re not “working”?

Um… no? Hah, barely. We spend so much time together on the road, 24 hours a day. We do hang out a little bit but when we’re home we try to hang out with our significant others and try to keep friends that we’ve not seen for months. We get together from time to time, we’re all friends, some of our girlfriends are friends.

So 2am has nearly a million views now, and Boss, which came out yesterday just hit 3000, which is awesome. Where do these videos come from, who came up with the ideas?

Generally I have a lot to say about the videos, but the 2am video I left to the directors. I mean, we were at the party, but other than that I left to them. The “Boss” video, the director is a friend Ethan…. We talked about it a lot beforehand, and I was on set for the shoot, I helped him edit, I was involved as a “consultant” of sorts… He and I talk about music videos, whether they’re ours or stuff he’s working on, we talk about movies all the time so it felt very natural to do that. But yeah I’m pretty excited about it, I think he did an awesome job.


What’s the plan once this tour is over, are you looking to get back into the studio or just keep on touring?

Um, no nothing lined up at the moment, I think I’m itching to write some new stuff, and that’s difficult to do on the road so I’m looking forward to doing that when I get home. But no er… no concrete plans for any new recordings, I think we’ll be doing some more touring in the spring. Soak in some home life, spend time with my girl and my friends and uh absorb the real world for a second. Try and write some new shit.

I ask everyone this, but it’s interesting to hear what comes out – who would you like to collaborate with?

There are definitely people we admire… There’s a lot of people I’d love to work with but I’m trying to think of someone the band are all excited about, we all have different opinions. I’d like to do something off-brand, out of our world and work with a producer like more like Flying Lotus, or someone totally out of the rock realm.


Words Morton Piercewright

Tove Lo bares her soul on revealing cover shoot for FAULT Magazine Issue 24


“You have your whole life to write your first record,” explains Tove Lo. “I had two years to write this one.” The 28-year-old Swede’s breakthrough came in 2014 with the arrival of her debut studio album Queen of the Clouds, which spawned numerous hit singles like  “Habits (Stay High),” a drug-and-sex-fueled post-breakup bender anthem echoed around the world. Fame, when it came, seemed overnight. The freshly minted pop sensation won a legion of fans, and the excitement bubbling up around her imminent follow-up album started taking on new levels of ferocity. So how do you repeat a career high of that of magnitude? How do you give fans more of the same without reinventing the wheel? Tove Lo’s answer is Lady Wood, and the new album finds her at her best. It’s infectious pop, a battle cry for self-empowerment, and endless truth telling about relationships imbued with the twisted wit—decidedly Scandinavian—that we’ve come to expect from her.


When it comes to your songwriting, you’re quite revealing. What does it feel like to reveal so much of yourself to the entire world?

It’s amazing, and also kind of scary. When you’re in a creative bubble, you know exactly how you feel about everything, but the world can receive it differently. You know what I mean—It’s like, “I hope they understand what I’m saying here,” because it is so personal. But mostly, I’m so proud of this record. I’m excited to share more stuff from Lady Wood.


Is the creative process very different when you’re writing songs for other artists?

When I write with someone else in mind, I have to be with that person to figure out what they want to say and think about their voice. You see what kinds of melodies suit them. When I’m writing a song that’s for someone else, it’s the same way movies can inspire me. I love creating a scenario in my head and describe what’s going on, while pulling at those emotions that I can relate to. When it’s a song for myself, it’s very easy and introspective. It just comes and I blurt it out, you know? I’m putting my heart to paper.


What was the overall concept for Lady Wood? 

Lady Wood is a double album and there’s a second part coming up with two more chapters later on. “Fairy Dust” and “Fire Fade” are the first two chapters, and the whole album is about the past two years of my life. It’s been a fucking emotional rollercoaster—in the best and worst ways possible. [Laughs] Lady Wood is all about chasing that rush. How do I feel the most alive? Sometimes it’s stress, sometimes it’s love, and other times, it’s being high getting off the stage. The album takes you through the different stages: The chase, the rush, the peak, and the downfall. The beginning is when I hear the fans shouting my name and I’m about to hit the stage. “Fire Fade” is when it all sort of starts to wear off and I’m losing connection with the fans a bit, and I’m trying to get back to that first chase. You feel vulnerable there. It’s where you start to reveal your true self.



The track “Cool Girl” was inspired by Rosamund Pike’s memorable monologue in David Fincher’s Gone Girl? That’s so specific!

It was sort of a coincidence! I had just seen the movie. I’d also remembered being in a similar situation where it was a back-and-forth with this person. I felt uneasy about it, you know? It was like, “Do I really know this person? Do they really know me?” She changes herself so much for someone else. Why do we—and not just girls—do that? Why do we change ourselves for someone else and then expect that person to love us for who we are? Why do we play mind games? Why do we try to make someone we like feel insecure so they will like us more? It’s strange the things we do to others to make them love us. [Laughs] It’s like the less emotion you show, the more in control you are. It’s like you can’t let your emotions get ahold of you. Why is it so bad to be emotional?


They sometimes call you “The saddest girl in Sweden.” Is that a source of irritation?

That doesn’t bother me. I don’t know if it’s because I’m Swedish. [Laughs] It doesn’t bother me to say that I’ve been depressed and I’ve struggled with dark thoughts. It’s not something that I find shameful. Everyone’s sad sometimes. Even though I’m living my dream, which is fucking awesome and amazing, I still have days when I don’t want to get out of bed. If you experience all these highs, you’re going to get the lows—that’s just how it’s always been. I definitely appreciate the small things in life as much as I do the huge things. There are people who are surprised when they meet me like, “You’re nice!”


Do you still sometimes stop and think, “This is all fucking crazy right now”?

Yes! In Miami, we went to this amazing, beautiful house and had so much fun jamming on stage with Maroon 5, and then we went back to our hotel and jumped into the ocean. It’s like, “What the fuck is happening?” [Laughs] We just performed for 15 thousand people! As often as I can, I try to think about that. It can get stressful and things can get intense, but I wouldn’t change it for anything. I’m here to live my life to the fullest.


What is your FAULT?

Where do I even begin with this? [Laughs] Well, my FAULT is that for every TV show type thing we do now, we have to include in the contract that I won’t flash the camera.




…Or get your copy digitally via Zinio! 1 year’s subscription = just £14.40

Rebecca Ferguson opens up about the inspiration behind new album ‘Superwoman’

She undoubtedly has one of the most distinctive voices in music, a timelessly soulful tone rich is jazz and along the similar bloodlines of Nina Simone. Now Rebecca Ferguson is back with her fourth studio album ‘Superwoman’. Following her break on the X Factor six years ago and the incredible success of her three pervious albums, ‘Heaven’, ‘Freedom’ and ‘Lady Sings The Blues, Rebecca returns fuelled by the bitter sweetness of heartbreak and giving birth to a new baby. ‘Superwoman’ is a diary of contradicting emotions; Rebecca’s new music liberatingly exposes her vulnerability, and yet is filled with songs infused with strength and empowerment. We caught up with Rebecca to speak about her super album, that is dedicated to fearless mothers and fighters.

Brown's Hotel Towel / Jewellery - Swarovski

Brown’s Hotel Towel /
Jewellery – Swarovski


FAULT: So you’re back and with the new album ‘Superwoman’, what has it been like getting back to writing and recording new material?

Rebecca: It was good, I was really happy, as my last album was not one that I had written so when I finally got to come back and write this album I had so much to say. It was really easy and it was an emotional process but one that I really enjoyed doing.


Why the name ‘Superwoman’, and who would you dedicate this album to?

[It’s called] Superwoman because I wanted to highlight that, you know, sometimes you go through stuff and you do super woman things and actually we are all human beings and we get through it. I had quite a tough year, it must have been two years ago now and when I look back at how bad it was I think actually, you know, I’ve done all right, I’ve conquered. So it comes from that place really and as well as that I’ve dedicated it to my step mum who passed fighting cancer. So it’s just about strong women really and that sometimes you don’t always overcome things, but you fight. So it’s an album for fighters.


How would you say this album differs from Heaven and Freedom?

I think it’s a lot more personal; the other two were personal as well but this album is about a subject that I wouldn’t normally speak of, as there is a child involved. So there was a break up but it’s talking about something that is very personal and I’ve sort of opened myself up to the public and my listeners about a very private chapter in my life. I’ve done it deliberately because I wanted to tackle the taboo subject of women being left with children and being left to carry children. I wanted to really tackle it and make the taboo subject something people have to think about.

Did you do anything in particular to prepare and get into the headspace for creating this album, as it is obviously quite emotional?

I just literally went in, we would normally record from twelve to seven, or six. So every song on the album is exactly how I felt each day. For ‘Hold Me’ I was really venerable and just slouched in the corner and I just wrote it really quickly. It’s just really expressive and it’s kind of like a diary, this album. I just wrote what I felt and I wasn’t really overly thinking about my audience and wasn’t thinking ‘oh right, I’ve got to write a hit’, it was just like this is what I feel and I just poured it all out.

Shirt - Edeline Lee / Skirt - Holly Fulton / Jewellery - Swarovski

Shirt – Edeline Lee / Skirt – Holly Fulton / Jewellery – Swarovski


What would you say are the three most prevalent emotions that people will feel and relate to when listening to Superwoman?

You will feel… oh how can I put it. There will be moments when you feel strength, there will be moments when you reminisce and there will be moments of sadness. But strength I want to be the main one.


Can you choose a favourite song from the new album?

‘Hold Me’, ‘Mistress’ and ‘Pay For It’ are the ones I would go to listen to for pleasure, if you know what I mean. If it wasn’t me singing it and it was another artist I would go to them to listen to.


What is the message behind your new single ‘Bones’?

Well it was the vulnerability; if I’m being honest it’s again the journey. I’m not now in that place I was with Bones; I’m not in a relationship wanting a man to love me but I had to tell that story so the whole album is about how I was feeling. You know, why wasn’t he paying attention to me, it’s all about wanting them to love you and to treat you right but they don’t and it’s kind of me expressing how a lot of frustrated women and men feel like. You’re not taking no notice of me, you just have the telly on constantly or out with your mates and that’s the song that I think everyone can relate to in some way.


I thought the music video for ‘Bones’ was beautifully shot – was it fun to shoot?

It was so relaxing and nice, some shoots can be really stressful but it was actually quite a nice video to shoot. I think having the actors in it helped as well as they do a lot of the shots too.


What was it like working with Producer Troy Miller on Superwoman?

He is amazing. He is unbelievable and he is a real perfectionist as well. I believe really good things will happen for Troy, I really think he is going to go on, as he is so ambitious. He will do great things, as he is someone who is special in his style of production.

Slip Dress - Ghost / Jewellery - Swarovski

Slip Dress – Ghost / Jewellery – Swarovski


How have your three gorgeous children influenced you and the new album?

Well it was hard because I’m having to be quite honest about everything with the kids, so I think they have influenced me in lots of ways. Arabella is the main influence because it was all about her and it was the situation I found myself in with her and how having her changed my life and my confidence. I had a depressive break down when I was left with the baby, but when I finally got back on my feet I was a changed person and thought ‘No one is ever going to put me in that place again’. I’m never going to be that depressed again. You just go though things for a reason to make you stronger.


In the past you might have been shy with conveying your emotions, but how are you now able to embrace them within your music?

I mean we all have our moments, I had a big TV deal the other day and I was like ‘oh my god’, you know I’m still a human being but I think working with people in the Jazz world helped. They are so free on stage and helped me to just chill out. If you make a mistake on stage just wing it, that’s what they say because in jazz there are no mistakes. If someone sings a wrong word they all just laugh about it and carry on playing, which I love, and that’s what I think music is all about, just freedom to express. So working with jazz people really helped me to express those emotions.


How have you enjoyed turning 30 and moving to Paris? Have these milestones taught you anything?

Turning thirty… I milked it for three weeks! I just celebrated and celebrated, and celebrated again. My stepmum before she passed said to me, ‘Becky, go party, go holiday, just enjoy it’. So I listened to that and I just milked it. First I went to Paris and me and my best mate hired a nice suite right in front of the Eiffel Tower and we had drinks on the terrace, which was really lovely, and that was our Carrie Bradshaw moment. Then I threw myself a big party in Liverpool and invited all my old school mates, you know people I hadn’t seen since I was 15, so it was like a big school reunion and then we did more nights out and went to see another show in Paris. I think with age, I’m learning that people only celebrate the big birthdays but actually without sounding morbid it’s a good achievement and you should enjoy celebrating every one.


Superwoman as a body of work is super empowering, do you have any tips for women who want to feel empowered themselves?

My personal opinion from what I’ve found is don’t chase a man, a man that cares for you, you don’t have to chase. No matter how many times you chase them, you’re not going to capture them. If you’re having to chase them you will never hold them and that’s one thing that I learnt turning 30 is that you need to find love within yourself, because if you’re just looking for it outside you will never find peace.


I love the album art for Superwoman – how have you enjoyed evolving your look?

You know, I spoke about it and thought, ‘I’m a few albums in now and I really need to start doing me’. We fought for that shot as well, and I fought for the bunny ears as not everyone wanted them. I think it’s modern and it’s youthful and so I’m glad we went for it.

Dress - Peter Jensen / Slip - Ghost / Jewellery - Swarovski

Dress – Peter Jensen / Slip – Ghost / Jewellery – Swarovski


You obviously started out on the X Factor and since then have had fantastic success musically, but do you find yourself moving away from the X Factor stigma or do you think it is something that will always be threaded through you?

I’m very appreciative of X Factor and I’m really grateful. I don’t understand how people do it and then are like ‘don’t mention it,’ because I think you have got to accept where you’ve come from and it was the public’s vote that got you there as well. People actually paid money to put you where you are, so I’m very appreciative. At the same time I don’t like that there is such a stigma, you know I write all my own music and I help produce all my music too so I am a musician. I would like for people now to not stigmatize me I guess.


You’re starting your UK tour on the 23rd of October; do you have any tour traditions?

Only pre show; so, I have to have 15 minutes alone compulsively or I freak out. I know it’s a really odd thing but I have to have that time. In those minutes I will say a prayer and I will do a lot of ‘oohs’ and ‘ahhs’ and a lot of yodeling goes on. I just get myself in a good positive mindset really but if I don’t have it, it does throw me.


Do you get nervous preforming on stage and meeting fans?

I do on TV sometimes but it depends, I’m a bit more chilled now. But saying that, I did a gig at home in Liverpool and because all the experiences that I’m speaking about on the album happened there, I kind of had to go back and face my demons and face the place where a lot of the pain had happened. So that was a difficult one, as when I was singing I was getting really emotional and that made me a bit nervous, but once I settled in I was fine. It just brought it all back.


Who are your continuous musical inspirations?

Lauryn Hill, I think she is amazing, her ‘Miseducation’ album was unbelievable, I don’t know what’s happening with her but that album was amazing. Who else… Tracy Chapman, and I’m actually into Kanye West, I mean musically as a producer. I know he can be a bit controversial, but production-wise I think he is unbelievable.



Dress – Peter Jensen / Slip – Ghost / Jewellery – Swarovski


What has been your most ‘pinch me’ moment ever, either something you have achieved or someone you have sung with?

Well singing to Prince William, [or perhaps] Lionel Richie, singing with him was a bit nerve-racking but the most recent one was when Goldie Horn stage-bombed me and ran on stage and gave me a hug when I was singing the other day. I grew up watching all her old classics films, and she is just so lovely and she is so down-to-earth. I mean we hugged and then were singing and dancing together which was lovely, I wish someone filmed it though.


What are your future goals, both musically and personally?

Musically, I just hope to carry on making records and doing tours, speaking to fans and helping people. I’d like to do more charity work but at the minute because I’ve got a young baby who gets me up three times a night, I recognise that if I do a charity I’ve got to be 100% dedicated. So I’m waiting until she is a bit older as I don’t want to half-do it, I want to fully focus. So that’s a future goal and as well as that I’d love to maybe get married in the future. I wouldn’t say never to more kids I’d just have to be really settled and happy first.

Rebecca’s new album ‘Superwoman’ is out now.

Words Sarah Barnes

Photography Jack Alexander

Styling Edith Walker Millwood

Beauty Lisa Laudat using MAC and Beauty Works

Special Thanks Brown’s Hotel