KYGO – EXCLUSIVE ONLINE COVER SHOOT AND INTERVIEW

Jacket by Frame | Tshirt by London Denim | Jeans by Zadig & Voltaire |

Kygo – real name Kyrre Gørvell-Dahll – is always on the go. When we caught up with the tropical house sensation, he was in New York, doing promo for his new sophomore album, ‘Kids In Love’. It won’t be long until he’s jumping on a plane to his next destination.

 

The 26-year-old DJ and producer wasn’t planning a career in music, but what started off as experimentation on Soundcloud has resulted in a meteoric rise to fame, billions of streams, and shows at huge festivals such as Coachella and TomorrowWorld. We caught up with Kygo to chat about mixing up his sound, his dreams to work with Ed Sheeran and never sitting still.

Hoody by Kygo Life | Trousers Kygos own

 

How has your unexpected success affected you personally and how do you stay grounded when you’re playing gigs to thousands of people on an almost daily basis?

It’s about the people you surround yourself with. I’ve kept all my old friends, my manager, my girlfriend. They keep me grounded. It [fame] doesn’t really affect me that much. I see my family, I keep busy by always traveling and playing shows. I get to do what I love for a living.

 

You popularised tropical house to the point where you were working with superstars such as Ellie Goulding and Selena Gomez. How did you arrive at this unique personal sound?

It was just through a period of experimenting. When I was studying [at university] I would play music in my bedroom all the time. I spent hours and hours experimenting with different sounds. I was inspired by [artists like] Avicii and Swedish House Mafia but I felt like everyone else was trying to sound like them, so I started listening to other stuff like deep house and found the sound I have now. It wasn’t like a plan, it was just stuff that I thought was cool.

 

How do you prepare to play live? Do you have any pre-show rituals?

I like to take ten or fifteen minutes before the show to concentrate and get in the zone. There’s always so much stuff going on and so many people around.

Jacket and T- Shirt by Prevu London | Jeans by Zadig & Voltaire

You’ve recently collaborated with a plethora of artists such on your new album; some which are well known, like John Newman and OneRepublic, but some which are still largely under the radar like The Night Game. Why did you choose to work with these artists in particular?

My label sets up a lot of studio sessions for me. They recommend people to work with. I like to be very open-minded about people I work with. Even some songwriters or artists I’ve never heard of before, I’ll just try it and see what happens.

 

Is there anyone you’d love to work with down the line?

There’s a lot of people! Always on top of the list is Ed Sheeran. I did some remixes of Ed Sheeran four years ago. The Weeknd would be cool. Coldplay could be cool. Imagine Dragons as well.

 

In what way is your new album, ‘Kids in Love’ the follow-up or partner album to your last record, ‘Cloud 9’?

I think it’s a follow-up. There’s definitely some of the same sounds in there but a little different. I’ve tried to have fun with myself and my sound and mix it up. I didn’t want to make the same album or a similar album all over again, I wanted to make something new. I’m very happy with it. Some of the songs I’d be jamming on the piano but some of the songs were demos that would get sent over that I’d feel really inspired by. With the OneRepublic track and The Night Game track, we wrote those both from scratch together.

Coat by Coach 1941 | Shirt by Diesel Black Gold | Hoody by Kygo Life | Trousers by Michael Kors

Do you have a favourite song from the album?

It’s always tough to pick a favourite as I like all the songs on the album but I think ‘Kids In Love’, the title track if I had to pick, would probably be my favourite.

 

Is it because it means the most to you?

Yeah, it does! I’d been working on the song for over a year. When I make a track it only takes three days or a week or two, then after a while, you make some tweaks and release it. I usually like to tweak a song but it doesn’t make it much better. It’s not good to change it too much. This song sounded so big and powerful that I wanted to make sure it was perfect before I released it, so I spent a lot of time on it.

Jacket by Frame | Tshirt by London Denim |Jeans by Zadig & Voltaire

What is your FAULT?

I’m definitely always late. I can’t sit still. If I’m sitting in a chair I always have to move my feet. It must be quite annoying – not for me but for the people around me!

 

Words: Aimee Phillips 

Photography: Conor Clinch 

Styling: Dee Moran

Grooming: Graziella Vella using Becca and Kevyn Aucoin

Production: Adina Ilie

 

Snow White On The Edge – exclusive fashion editorial for FAULT Online

Kimono: Fendi
Denim: Dior
Accessories: By Highinheels
Shoes: Alaia

Kimono: Fendi
Denim: Dior
Accessories: By Highinheels
Shoes: Alaia

Motor Jacket: Kanye West
Dress: Cos
Necklace: Dior
Shoes: Alaia
Skirt: Vintage Chloe

Motor Jacket: Kanye West
Dress: Cos
Necklace: Dior
Shoes: Alaia
Skirt: Vintage Chloe

Outerwear: Fausto Puglisi
Dress: Versace Vintage
Necklace: Dior
Glasses: Ferre
Shoes: Alaia

Kimono: Fendi
Denim: Dior
Accessories: By Highinheels
Shoes: Alaia

Outerwear: Fausto Puglisi
Dress: Versace Vintage
Necklace: Dior
Glasses: Ferre
Shoes: Alaia

Photographer: Theresa Kaindl – @TheresaKaindl
Stylist: Dominique Reina – @Domi.NYC
Hair + Make Up: Joshua Nyitray – @JoshuaNyitrayhair
Model: Anastasia Salenko – @Miralenko
Agency: Montrueil Group – @MontreuilGroup

‘Label Lust’ – a FAULT Magazine Beauty Story by Sarah Brown

 

PHOTOGRAPHER: Sarah Brown

MODEL: Cynthia @ Elite Models

MAKEUP ARTIST: Sarah Redzikowski

HAIR STYLIST: Sarah Redzikowski

NAIL TECH: Yasmine Elwakil

 

 

Jared Harris: Exclusive FAULT Magazine Issue 27 interview & photoshoot

Jared Harris

“Acting… it’s playing, isn’t it? That’s what’s great about the job. If you don’t enjoy playing then why would someone enjoy watching you do it?”

Jared Harris for FAULT Magazine Issue 27

Photographer | Osvaldo Ponton
Stylist + Art Director | Chaunielle Brown
Groomer | Scott McMahan @ Kate Ryan
Set Designer | Lauren Bahr @ Kate Ryan
Photo Assistants | Nicasio Andrade + Xiangyun Chen
Fashion Assistants | Francis Harris + Ariane Velluire

A far cry from the typical, theatrical masks sputtering their pre-fabricated phrases, Jared Harris is a poised and reflective interviewee. As we banter about Brexit, Boris, and all that bullshit, there’s no suggestion that he’s keen to move things along in the direction of some scripted lines about his next role.

It’s a little surprising that he isn’t fervently plugging what promises to be another significant milestone in his storied career: the role of Absalom Breakspear in Amazon’s 2019 series ‘Carnival Row’. After all, the show reportedly has an enormous budget, stars eye-widening leads in Orlando Bloom and Cara Delevigne, and has been put together largely by his former college pal, René Echevarria. But it’s clear that Jared’s been around the block a few times. When he speaks, it’s with the assurance of someone who knows that the next role is never very far away. And it’s reassuring to get the sense that he’s treating our interview with the same sense of enjoyment as he has the rest of his career to date. It’s all part of the job, after all, so you might as well make the most of it…

FAULT: Tell us about your current project [AMC’s ‘The Terror’]

Jared Harris: The job’s great. It’s sort of special, really: the showrunner is a friend of mine from Duke University, so I’ve known him for a really long time. My younger brother’s on it as well, so I get to work with him. That’s always been a personal goal of mine.

The show itself is really well written, and that’s always the first question that one asks: how’s the script?

Jared Harris for FAULT Magazine Issue 27

There’s often a temptation to qualify actors based on a role call of who they’ve worked with – and you’ve worked with some of the biggest names in the business (Tarantino, Soderbergh, Guy Ritchie, David Fincher etc). How important is that to you? To what extent do you take jobs based on the personnel vs the project?

First of all, it’s the script. That said, when I was starting out – and I’ve kept some of those scripts – I remember reading Dracula (by Francis Ford Coppola) and thinking what a load of old tosh it was! It was almost softcore porn – there were a lot of scenes with girls in flimsy blouses getting their boobs out, and I thought to myself, “What on earth is he doing this for? It’s just dreadful!” But then, of course, you go to see the movie and you think, “wow!”

That’s when I got my first education in dealing with really great directors. You just don’t know what they’re going to do with the project. You have to assume that, with films in particular, it’s almost like a lump of clay. Not quite, because scripts are never entirely shapeless, but the great directors fully intend to reshape the material. That was true when I worked on Natural Born Killers. I read the original Tarantino script and it was completely different to the final film as it was directed by Oliver Stone. So, with films in particular, the director is almost more important than the script.

That said, it’s very difficult to improve a bad script. The shape and the structure has to be there to begin with, otherwise no-one really knows what they’re supposed to be doing. You’ve just got so many people trying to tell a story: the costume designers, the cinematographer… the script is the starting point for all of them.

Jared Harris for FAULT Magazine Issue 27

On that note, what level of influence do you – as an actor – have when it comes to interpreting the script?

It really depends. There are so many different factors at play: what type of movie it is; who’s making it – is it studio or independent; who’s directing it; the size of your role… Generally speaking, if it’s a studio film and you’re not the lead, you have very little input at all and no-one’s really interested in hearing your opinion…! They all just want to cozy up to the movie star and stay there.

That said, when I was working on Sherlock Holmes: A Game of Shadows there was total collaboration with Guy Ritchie and Robert Downey Jr. What tends to happen with that sort of film is that the screenwriter is trying to deliver a fresh product – a new take on an old story – and then, during the endless period of noting (where studio executives give notes on the script), it tends to deviate back to something incredibly familiar. Or, to be blunt, something that you’ve seen a thousand times before…

The studios’ obsession is, “when in doubt, re-state the plot.” Tell the audience what’s going to happen, what’s happening as they’re watching it develop, and then tell them what they just saw. And, of course, it’s fucking boring. So they [Ritchie and Downey Jr] tried to figure out a way of taking out as much of the exposition and plot as possible and delivering just enough so that the audience could stay ahead of the story and yet still be surprised be it: because no-one was as far ahead as Sherlock Holmes.

 

You’ve said that actors nowadays don’t have the same opportunities to rehearse as often as you used to. How do you manage to go between so many different, diverse roles so quickly and without that opportunity to really get into gear?

Well, I’ve never had that opportunity, to tell you the truth. From the beginning, I was always cast late. If you’re the main person on the movie, or the person whom the financing is lining up behind, then you know what you’re going to be doing well in advance. But with me…

George Hall, my principal at Central School of Speech and Drama, said it best, in my opinion. He told us, “You’re not going to have time. You’re going to have to learn how to sketch. You’re going to go into an audition and you’re going to be handed material with 5 minutes to figure something out. You can’t afford to be precious: you can’t do research and character study and work on a back story… you’re not going to have time to do that.” That was some of the most pertinent advice I got from that school.

Jared Harris for FAULT Magazine Issue 27

Special Thank You (Location) | Tomcats Barbershop and Renee McCarty

 

What’s your FAULT?

Oh God. Forget the magazine; you’ll have a phonebook to fill!

I’m never happy with the work that I’ve done. Someone told me once on ‘Mad Men’ that I’d just done an iconic scene, and asked me if that was the one that my character would be remembered for, and that I’d be remembered for then how would I feel about that? And I remember saying, “Can I do it again? Because I think I can do it better…”

Jared’s next project to appear on screens is The Terror for AMC which begins broadcasting right after the finale of Walking Dead. The Terror is an adventure/horror story that fictionalises the real life events surrounding the disappearance of The Franklin Expedition in the Arctic during the Winter of 1847.

 

Find out who else will appear alongside Jared Harris in the issue here

FAULT MAGAZINE ISSUE 27 – THE BEST OF BRITISH ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

FAULT meets Schoony – Hollywood’s favourite artist

Since storming the London art scene in 2008, urban artist Schoony has certainly made his mark within the art world and beyond – his celebrated Boy Soldier sculpture having garnered international recognition, and a number of Hollywood fans.

 

Boy Soldier is again reincarnated in the artist’s latest collaboration with Woodbury House, along with two more exclusive pieces; FAULT spoke with the multi-talented Schoony to discuss his partnerships with Woodbury House and streetwear brand Dark Circle, his experience across the film and art industries, and the inspirations behind his pioneering hyperrealist sculptures…

 

You worked in film prosthetics and special effects for a long time – what drew you away from this to become a solo art practitioner?

I took the plunge into a new career as an artist to share a skill and a passion for my artwork, inspired by my work in the film industry.

Your sculpture ‘Boy Soldier’ has been featured in films, and is a favourite among big Hollywood names – what do you think is the appeal of this particular piece?

I think Boy Soldier has become so well-known because it resonates with so many people from every walk of life. Some countries do send their children to war and the repercussions are horrific, and this piece is able to highlight this injustice.

I used a life cast of my nephew Kai for the piece, as he was aged seven when it was created; the same age as some of the soldiers in Afghanistan and Iraq would have been ten years ago, which added an additional level of meaning for me. It is a future I do not want for my nephew, and I think this piece is able to bring that to life.


War and mortality seem to be key themes within your work, what is it about these aspects of society that you find so intriguing to explore in your practice?


War and mortality are both issues that are of huge importance to me, and very much in the forefront of people’s minds, as the media is plagued with horror stories of war and terror happening globally.

My work is able to reach people on a different level to online news or national papers, as people are less able to distance themselves from it or become desensitized to it – it is brought to life in a bigger way. I try to be influenced by everything I see, hear or feel and work on matters that demand attention.

 

 

You work predominantly in life cast sculpture, but do you see yourself experimenting with other mediums in future?


I have worked and experimented in many mediums over the years but, primarily, I use fiberglass resin as the foundation for a majority of my works as it is so versatile and robust. I do use various silicones of varying density, pliability and viscosity for my hyper-realistic pieces, as it is almost like the touch of skin.

In recent years, I have branched out into 3D scanning and printing. I own a number of different printers that produce works in different materials: ABS plastic, liquid resin, and powder. I use this medium exclusively now to create the heads for my models as you can achieve a true copy, compared to traditional lifecasting techniques. It’s a long process, but with much better results.


I do also experiment and play with different painting techniques – I particularly like the Montana spray paint range for its vivid dense colours.


Are there artists, past or current, who you have found inspiration in, or whose work you admire?

I have always been a huge fan of James Jean – I’m always amazed by the work he produces. In terms of artists who I feature on my walls at home, I have numerous Jeremy Geddes, James Jeans, Pipsqueak, and my most recent acquisition is a light work from Max Patte, from an astounding show that was held at Sir Ian McKellen’s house.


You recently collaborated with Woodbury House Contemporary Art on three exclusive pieces – how did the collaborative process behind that come together?
I have worked with Woodbury House for a number of years, and we have a great working relationship. They put forward the opportunity to do a three-way collaboration with Dark Circle, and I immediately jumped at the idea.

Having the chance to work collaboratively with Woodbury House and Dark Circle has been a unique and highly inspiring artistic process; we’ve been able to amalgamate two very different artistic styles to create a unique range of works.


I was especially excited by the fresh look and feel the Boy Soldier sculpture was given by the Dark Circle team, and I love the design they have worked into my creation.

 
As well as your Boy Soldier sculpture, you also created two-panel pieces for the collection – Butterfly Kiss and Bruiser – what were your inspirations behind these works?
The inspiration for Butterfly Kiss was based on the short lifespan butterflies have, some only living days or weeks. The sculpture shows the same person in this moment together, and through this connection, they create the shape of a butterfly.

The sculpture was a life cast of my wife and, to me, showcased how fleeting and short-lived love can be and to appreciate the time you have, to appreciate the beauty, and to love yourself.

 When my daughter was born in December 2015, it made me realize how women can be repressed and feared by certain groups in this world. Bruiser was taken as a 3D scan of my mate’s daughter, as I wanted to make a piece that represented that underlying strength and power that all women have.

 

 
You’ve also recently collaborated with the clothing brand Dark Circle to create a collection around these three pieces – is fashion an area that you’re interested in, either as a medium to create works, or more widely as a part of modern society and self-expression?
I love fashion! Fashion and art go hand in hand. It’s a form of art and self-expression; the way somebody dresses can speak a thousand words. If I can spread my ideas through this medium, then I really like the idea of art being able to cross all borders and giving anyone the chance to own something that speaks to them.

I am always open to new and creative ways to bring my work to the masses – and it’s pretty cool to see your work walking down the street!

 

 
There is a lot of discussion about the art industry’s accessibility, pricing and regulation – what are your thoughts on this?
Anything that can make art feel more accessible and available to a wider range of people has my backing. Art should be attainable to all, and not a select few.

 

What is your FAULT?

One of my biggest faults is money – I get through it too easily!

 

 

Words: Jennifer Sara Parkes

 

 

 

Gary Numan: Exclusive FAULT Magazine photoshoot and interview preview

Gary Numan

I know exactly what I’m doing and I’m in a really good place.”

Photo: David Richardson
Styling: Margherita Alaimo
Grooming: Gemma Webb
Words: Flora Neighbour

Given his new-wave edge and awkward façade, not to mention his well-documented Asperger Syndrome, you’d be forgiven for thinking that Gary Numan was a shy, introverted man. You’d be mistaken. The quick-witted and honest songwriter has a lot to say – both about his own past and his (partly) Trump-inspired vision of a near-apocalyptic future. Despite maintaining a cult following to this day, the 80s electro trailblazer has only recently returned to the limelight with Savage, his first top 10 UK album since I, Assassin all the way back in 1982.

FAULT: How’s the tour going?

Gary Numan: It’s great! Last night in Bournemouth was fantastic – much better than the first night, which was a huge shock to the system. I’m still trying to get to grips with it all again while remembering my lyrics. It’s been a completely different experience to my other tours, but I’m really enjoying it.

Do you feel more in control of your work nowadays?

I’ve always felt that I had a say but, now that I manage myself, it’s opened up a whole new path for me. I was always fairly in control of my work before: I’ve always written everything and been hands-on in the process, so it doesn’t feel that different. The thing about my new album, Savage, is the self-managing aspect. It’s been the first big project that I’ve been in charge of from beginning to end without anyone to lean on. I’ve had to make all the big decisions myself, which was a bit daunting to begin with but, strangely enough, once I got into it, I began to realise it wasn’t that too difficult. There’s no black magic involved, just staying organised.

 

Can you talk us through the ideology of Savage?

It came from a book I’d been writing, which was set in a post-global warming future. The idea being that the earth’s temperature wasn’t controlled and it became this unstoppable phenomenon, leaving the planet with a large amount of desert and full of despair. That’s it in a nutshell.

If you go into it further, it looks at people living in that world and how brutal it would be. It looks at the evaporation of [grouped] eastern and western cultures and the potential for us to become far more fragmented and tribal. The album presents snapshots of how brutal it would be, and how unforgiving and savage the environment would become.

It was also influenced by Trump and how he’s come along and started to undo all the good that has been done. I didn’t write the album because of Trump but he certainly helped it along.

 

Gary Numan was shot at Cable Street Studios, London

How has your style developed over the years?

Visually it’s certainly evolved, but I have adapted musically as well. I think it’s easier because my music is essentially electronic. Every time I’ve started a new album, there’s been new technology that helps me to adapt my style and create new sounds. It’s difficult not to change your sound and move forward if you’re working with electronic music – every album should sound like a progression of the one before. My early stuff was very minimal and simple and, as I’ve grown as an artist, it’s become more complicated and heavier. The thing that has never changed – in terms of being recognisable – is my voice.

Would you call yourself a British icon?

No way! I don’t really know what makes an icon. What qualifies an icon? There are many people I look up to but I wouldn’t call them icons. I’m a huge Trent Reznor [Nine Inch Nails] fan. I think he’s done pretty amazing things but he’s not British.

There aren’t many people I would say I look up to, but there are many British people I admire. If you have a look at the music industry now there are some pretty phenomenal artists. For example: M.I.A. In terms of what she’s trying to achieve – both in the music industry and outside [it], she’s definitely someone I admire. There are definitely a lot of artists doing a hell of a lot of good.

What is your FAULT?

I don’t think you’d have enough ink! If I have to choose one, it would probably be my lack of patience. My wife, however, would say that I’m very, very moody. Actually, let’s go with that. My kids would love that I’ve admitted to being moody.

Find out who else will appear in the issue here

FAULT MAGAZINE ISSUE 27 – THE BEST OF BRITISH ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

 

FAULT Magazine 10 year anniversary @ UNIT London with Bulldog Gin & Snog

FAULT Magazine 10 year anniversary event & Issue 27 launch

FAULT Magazine 10 year anniversary: FAULT Magazine director Nick Artsruni (left) with Issue 27 front cover photographer Jack Alexander (right)

FAULT Magazine director Nick Artsruni (left) with Issue 27 front cover photographer Jack Alexander (right)

We celebrated the FAULT Magazine 10 year anniversary in style with the likes of Rizzle Kicks’ Jordan Stephens, Rae Morris, Felicity Hayward, GIRLI, Dakota Blue Richards, Jonny Nelson and Sascha & Mimi Bailey at UNIT London gallery last week.

While the BULLDOG Gin sponsored bar served their signature gin & tonics (with a slice of crisp grapefruit on the rim) downstairs, guests enjoyed an exhibition of some of our favourite-ever FAULT shoots with the likes of Kylie Jenner, Usher, Ellie Goulding, Ben Barnes, Big Sean, Nick Jonas and Gary Numan. Well, we hope they enjoyed them, anyway!

Pride of place, of course, was our latest cover with Liam Gallagher. Shot by Jack Alexander, the front cover for FAULT 27: the Best of British Issue was the focal point for our showcase event that was catered exclusively by stupendous fro-yo trailblazers Snog and their brilliant new brand, Beltane & Pop.

The official ‘FAULT Magazine 10 year anniversary afterparty’ took place at Mahiki Mayfair…we think. To be honest, we weren’t quite sure where we were once our private section started overflowing with bottles of vodka and Mahiki’s trademark treasure chests!

Nick Artsruni with Jordan Stephens of Rizzle Kicks

 

FAULT Magazine editor Miles Holder with women’s fashion editor Rachel Holland

 

TV presenter Jonny Nelson

 

Felicity Hayward and Rome Fortune with Nick Artsruni

 

Presenter James Stewart at FAULT Magazine 10 Year anniversary event

 

Rae Morris

 

Dakota Blue Richards

Mimi Nishikawa-Bailey, Sascha Bailey, Nick Artsruni (l-r)

 

FAULT Magazine contributor Adina Ilie

 

GIRLI and friend (l-r)

 

Guests enjoy SNOG

 

 

Lucy Chappell with photographer Jack Alexander

 

Roxxxan with Nick Artsruni

 

Sophie Hopkins with Jack Alexander

 

Miles Holder with Melisa Whiskey

 

Model Alexander James

 

Model Chad Kuzyk

 

FAULT Magazine contributor Olivia Pinnock (centre, red hair) and guests

 

FAULT Magazine contributor Aimee Phillips

 

Some of the prints on display at the exhibition are available for sale.

 

Please contact us if you would like to inquire about any of the works listed below:

From left-right:

  • ‘Kylie Jenner for FAULT Magazine Issue 20’ – photographed by Lionel Deluy (black and white A0 canvas print)
  • ‘Ben Barnes for FAULT Issue 15’ – by Sinisha Nisevic (black and white A0 canvas print)
  • ‘Ellie Goulding for FAULT Issue 15’ – by Louie Banks (full colour A2 canvas print) – not for sale
  • ‘Usher for FAULT Issue 19’ – by Sinisha Nisevic (black and white A0 canvas print)
  • ‘Liam Gallagher for FAULT Issue 27 cover’ – by Jack Alexander (full colour foam board print)

 

  • ‘Nick Jonas for FAULT Issue 21’ – by Matt Holyoak (full colour A2 canvas print) – not for sale
  • ‘Kylie Jenner for FAULT Magazine Issue 20’ – photographed by Lionel Deluy (black and white A0 canvas print)
  • ‘Gary Numan for FAULT Issue 27’ – by David Richardson (full colour A0 canvas print)
  • ‘Big Sean for FAULT Issue 15’ – by Steven Gomillion & Dennis Leupold (full colour A2 canvas print) – not for sale

N.B: Where the works are not available for sale, we encourage you to contact the photographer directly!

 Special Thanks:

UNIT London Gallery

BULLDOG Gin

Outer Insight

Snog and Beltane & Pop

Mahiki Mayfair

Photographers on display: Lionel Deluy, Sinisha Nisevic, David Richardson, Matt Holyoak, Louie Banks, Jack Alexander

Amazing people who went above & beyond for us: Hermione Benest, Tim Lucas Allen, Vassilissa Conway

FAULT Team on the night: Miles Holder, Rachel Holland, Adina Ilie

This is your FAULT

 

FAULT Magazine Brand Focus: 31st State

 

31st State – Style & An Abundance of Substance

 

Ah, the teenage years, oily skin, bad hair days and pimple breakouts galore, sadly all three of these can follow us into our adult lives, and for that reason, I decided to review 31st State, a skincare range explicitly produced for young men.

31st State skin, body and hair products combine active naturally derived ingredients such as Manuka and Witch Hazel. While there has been a recent surge in popularity, in truth, dermatologists have been recommending the ingredients above for centuries due to their restorative skincare properties. Despite this, you’ll often find products on the market are jam-packed with additives, over perfumed and packed with preservatives, not something you want to use on sensitive or any other skin type for that matter. Seeing all the unnaturally infused products on the shelves inspired the founder of 31st State, Stephanie Capuano to formulate her range of products for her teenage sons to use, and that’s what we’re testing out in today’s ‘FAULT Brand highlight’.

I started with the 2-in1 Hair and Body Wash, at the most basic of evaluations, it’s a pleasant body wash. The body wash doesn’t have an overpowering scent like the many other products aimed at young men on the market (or the chemical cyan hue). It’s a delicate product and doesn’t leave your face feeling like you’d been slapped by a cactus the way we’ve seen with other high-end cleansers. A look at the ingredients shows that it’s still able to fight off bacteria without the harsher chemicals too. Containing silver and zinc, the former works to fight spots and bacteria while the latter works to control body odour and soothe irritated skin; I find it’s great for an all-round body wash.

RRP £8.99

Moving on to the Foaming Face Wash, like I said the Hair and Body Wash was more of an all-rounder, but sometimes you want a more in-depth cleanse to start your day. For those times, I used their Foaming Face Wash, designed to cleanse the skin of dirt, oil and bacteria thoroughly. The face wash is excellent for anyone prone to oily skin (as most teenage boys are!). To combat redness and irritation tea tree releases into the skin slowly over the course of the day which is exceptional for soothing the skin post-shaving. Manuka works to cleanse and rid the skin of oils which could lead to spot. I’d recommend using this product once every couple of days, as I would for most cleansers as the trick is to remove excess oils which have built up over time and not to completely remove the skins naturally occurring oils all healthy skins has.

RRP £12.99

The Overnight Clearing Pads were a great addition to my nighttime routine, mainly because it was so easy to do – making them a small ask for any young man to add to his nighttime routine. The pads are rich in Lactic Acid Manuka and Tea Tree which helps to shrink pores and remove the surface dirt and oil from a tough long day. An excellent addition to the Christmas list, it’s low maintained and easy to use but will make such a big difference to anyone’s skin!

RRP £15.99

Of course, there’s more to appearance than only the face, so to combat those bad hair days, I reviewed the Easy Hold Styling Gel. Well I didn’t, my housemate did, my “having hair days” are far behind me! Filled not only with Tamanu but also shea gives a natural hold and definition to the hair without the clumps and stickiness of other products on the market. Now you’d of heard a lot about shea this year, with she butter being one of the beauty industries runaway ingredients, Tamanu oil adds hair shine and UV protection. My housemate mentioned that it has a great hold, he wasn’t having to reapply throughout the day, and it washes out exceptionally quickly compared to other products he had tried.

RRP £6.99

 

All in all, we’re highly impressed by 31st State! It goes without mentioning a lot of the time, but they have also carved out the perfect branding approach for a product such as theirs. It’s cool; a Californian surfer-dude aesthetic is so fitting for their user base. It’s the quintessential product for any young man’s Christmas list – a brand with both style and substance made for men who personify the very same qualities.

Shop the product – www.31st-state.com