FAULT Magazine Meets Sorcha Richardson

 

 

Dublin born, Brooklyn based singer/songwriter Sorcha Richardson first hit our Radar back in 2015 with the release of her critically acclaimed ‘Petrol Station’ and we’ve been hooked ever since. With the release of track ‘Waking Life’ and about to embark on tour with Imelda May, we caught up with Sorcha to find out more about her career, music, life, future and of course, FAULTs.

You’re about to set off on tour with Imelda May, excited?

I can’t wait!  Rehearsals have been so much fun. I’m excited to travel with the guys in my band. I’ve played in Cork a handful of times but it will be my first time playing the rest of the cities. And the venues are incredible. Some of the nicest in Ireland. I can’t wait to see Imelda’s show too.

Do you find your songs take on new meaning and experiences when you perform them live to a crowd?

Yeah there’s a few in the set that feel extra special to play live.  Waking Life is one.  I wrote it when I was feeling a bit dissatisfied with life and so it feels very triumphant to play it to a room full of people.   There’s another song in the set that isn’t out yet, which I wrote about leaving Dublin for New York and the consequences of that decision on my relationships with the people I left behind here.  That’s a special song to me anyway but it has an added weight when I perform it in Ireland.

You’ve been performing for many years now, what’s been your toughest hurdle to climb in your progression as an artist?

I used to have such bad stage fright and I really didn’t enjoy performing because of it. All throughout school I played the drums in bands and never ever thought of myself as a singer.  So when I moved to New York and decided I wanted to sing these songs I’d been writing, I felt so vulnerable to be at the front of the stage with a microphone rather than at the back behind a drum kit. It took a lot of really bad gigs to get over that fear. And it still comes back every now and then, usually if I haven’t played a show in a while. But now I really love performing, especially the full band shows. They kind of just feel like a party.

Waking Life touches on hope, dreams and the realism of “life isn’t always how we planned it” and lyrically it’s very cinematic “flowers dying in the kitchen” “wrapped your fingers around my bleeding heart like branches overgrow” – would you say the visual aspect of lyricism enters your mind much when you song write?

100%. Writing songs is so visual for me  It’s almost like I’m watching a moving in my head as I write.  Sometimes I’m trying to capture that visual and translate it into words. Other times I’ll know that a lyric feels right because of how vividly I can see it in my head.  Even when I write about very concrete memories, it’s like they take on an altered, distorted shape in my brain.  Like a reimagined version of events that’s almost as vivid as the real thing.

Is it hard to find inspiration when you’ve got such a unique artistry or do you just find it in places outside of simply the realm of music? 

Sometimes I just don’t feel that creative. But there’s lots of things outside of music that inspire me – a lot films, books, photography. I like reading and watching interviews with musicians or writers, even if they’re not talking about music. It’s just fascinating to me to hear different people’s turns of phrases.  There’s times when I’ll be on the train and overhear a snippet of a stranger’s conversation and that finds its way into a song.

You’re Irish born but you’ve lived in NYC for a while now, do you still feel a close connection to Dublin as home, see NYC as home or neither and feel slightly displaced in both?

Dublin will always be home.  Even spending these last few months here has been amazing cause I’ve been able to have a bit of a routine that feels like normal life rather than coming home for a 2 week holiday.   New York feels very much like home too but I don’t feel anchored to New York in the way that I do with Dublin.  It’s always felt like a very transient place to me.  People come and go a lot. It sometimes just feels like everybody’s passing through.

Right after moving to New York I had this feeling like I was in some kind of no-mans land between the two places.  I had a life in Dublin and a life in New York and they felt really disconnected from each other.  And it felt like the longer I was away from home, the bigger the gap between them would come because I was adding more and more weight to my life in New York and less and less to my life in Dublin.  But in the last 3 years or so, a lot of my Irish friends have also left home, (a good few for New York) and are friends with my New York friends and so the two worlds have kind of blended into each other.  It feels less like I’m displaced in both and more like I’m part of a generation of young Irish people who have all done the same thing.

You’ve mentioned that birthdays are a time where you reflect and reanalyse your wants and goals, what will you be hoping to achieve for when your next birthday roles around?

It was my birthday a couple weeks ago.  I want to have a better party next year.  This time around I had my friends come to my house and then I made a rash decision to go to a bar in the city centre that just resulted in everybody getting separated. In hindsight we should have just gone to the bar on my street.   So I definitely want to have a better party next year. I also want to tour more. I’d be down to live pretty nomadically for a year. Maybe also be making something that resembles an album.  I should also learn to parallel park because driving around Dublin and not being able to parallel park is a nightmare.

 

What is your FAULT?

Not knowing when to leave the party / leaving my phone at the bar

FAULT Magazine Attends The UK Music Video Awards 2017

 

Last night FAULT Magazine attended the 2017 UK Music Video awards at London’s Roundhouse. Now in its 10th year, the award honours the greatest and most creative music videos and the people that make them – say what you will about 2017, it’s undeniably been a great year for music and music videos.

Hosted by the hilarious Adam Buxton, the night saw big wins for Kendrick Lamar who won the Artist of the Year award and alt-j’s 3WW won Best Alternative Video and Best Cinematography.

The night saw US director Ryan Staake win big, for his work on Young Thug’s Wyclef Jean – picking up a Video of the Year, Best Editing and Best International Urban Video award. By now, you’ll no doubt have seen the music video which nearly never was – but thanks to his innovation and problem-solving skills Ryan managed to pull it off!

In the Pop categories, Dua Lipa’s New Rules triumphed among the UK videos, while Haim’s Want You Back took the International award with US director Jake Shreier collecting the trophy. Other international directors who took awards include Barcelona’s CANADA for Beck’s Up All Night, and France’s The Blaze, who directed their own video for Territory. British directing team The Sacred Egg won the UK Rock/Indie Video trophy for their work on Royal Blood’s Lights Out and Hector Dockrill took the UK Urban Video award for Ray Blk’s Patience.

The UK Music Video Awards editorial director, David Knight, says, “More than ever, the music video is the place where musicians collaborate with filmmakers to create astonishing works of creativity. The winners and nominees at the UKMVAs have demonstrated that with their exceptional work in the past year.

All in all, we had a great night at the Roundhouse celebrating alongside such a talented room of individuals! Cheers to the UKMVAs and another 10 years of success celebrating the wonderfully diverse talents out there!

Find a full list of winners below!

Here is the full list of winners:

Best Pop Video – UK in association with Rushes
Dua Lipa – New Rules
Director: Henry Scholfield
Producer: Campbell Beaton
Prod Co: Caviar
Commissioners: Alex Burford / Kirdis Postelle for Warner Bros

Best Dance Video – UK
Bonobo – No Reason
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Commissioner: John Moule for Ninja Tune

Best Rock/Indie Video – UK
Royal Blood – Lights Out
Directors: The Sacred Egg
Producers: Natalie Arnett / Tom Birmingham
Prod Co: Riff Raff Films
Commissioner: Jennifer Ivory for Warner Music UK

Best Alternative Video – UK
alt-j – 3WW
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Commissioner: Andrew Law for Infectious Music / BMG

Best Urban Video – UK in association with PPL
Ray BLK – Patience
Director: Hector Dockrill
Producer: Stephanie PaeplowProd Co: Pulse Films
Commissioner: Hal Hudson

Best Pop Video – International
HAIM – Want You Back
Director: Jake Schreier
Producers: Alex Fisch / Jackie Kelman Bisbee
Prod Co: Park Pictures
Commissioners: Semera Khan / Saul Levitz for Polydor Records / Columbia Records

Best Dance Video – International
The Blaze – Territory
Directors: Jonathan Alric & Guillaume Alric (The Blaze)
Producer: Roman Pichon HerreraProd Co: Iconoclast
Commissioner: Manu Barron for Animal63

Best Rock/Indie Video – International
Father John Misty – Things It Would Have Been Helpful To Know Before The Revolution
Director: Chris Hopewell
Producer: Rosie Lea BrindProd Co: Jacknife FilmsCommissioner: Sub Pop / Bella Union

Best Alternative Video – International
Beck – Up All Night
Directors: CANADA
Producer: Laura SerraProd Co: Canada
Commissioner: Kevin Kloecker for Capitol Records

Best Urban Video – International
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment

Best Pop Video – Newcomer in association with giffgaff
Charlotte Cardin – Like It Doesn’t Hurt
Director: Kristof Brandl
Producers: Vlad Cojocaru / Jakob Preischl
Prod Co: Colossale / Bwgtbld
Commissioners: Alex Auray / Jason Brando for Cult Nation

Best Dance Video – Newcomer in association with giffgaff
Obongjayar – Endless
Director: Matilda Finn
Producer: Nick HayesProd Co: Friend
Commissioner: Theo Lalic

Best Rock/Indie Video – Newcomer in association with giffgaff
Lemon Twigs – I Want To Prove To You
Director: Nick Roney
Producer: Andreas AttaiProd Co: Agile Films
Commissioner: Gabe Spierer for 4AD

Best Alternative Video – Newcomer in association with giffgaff
Bonnie Banane – L’Appétit
Director: William Laboury
Producer: Theo GallProd Co: Division
Commissioner Jules De Chateleux for DIVISION

Best Urban Video – Newcomer in association with giffgaff
Oscar Worldpeace – Tate Modern, Wary, Pearls
Director: Taz Tron Delix
Producer: Kiran MandlaProd Co: COMPULSORY

Vevo MUST SEE Award
Marika Hackman – My Lover Cindy
Director: Sam Bailey
Producers: Lucy Bradley / Katie LambertProd Co: Agile Films
Commissioner: Connie Meade for AMF Records

Best Interactive Video in association with The Mill
Naïve New Beaters – Words Hurt
Director: Romain Chassaing
Producers: Nicolas Tiry / Edouard Chassaing
Prod Co: Solab
Record Co: Capitol Music France

Best Production Design in a Video
Bonobo – No Reason
Production designer: Luke Moran Morris
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Record Co: Ninja Tune

Best Styling in a Video in association with i-D
The Blaze – Territory
Stylist: Juliette Alleaume
Directors: Jonathan Alric / Guillaume Alric (The Blaze)
Producer: Roman Pichon Herrera
Prod Co: Iconoclast
Record Co: Animal63

Best Choreography in a Video
Kanye West – Fade
Choreographers: Guapo, Jae Blaze, Derek ‘Bentley’ Watkins
Director: Eli Linnetz
Producer: Kathleen Heffernan
Prod Co: Iconoclast
Record Co: Good Music

Best Cinematography in a Video in association with Panalux
alt-j – 3WW
DOP: Dustin Lane
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Record Co: Infectious Music / BMG

Best Colour Grading in a Video in association with CHEAT
Mick Jagger – Gotta Get A Grip
Colourist: Mark Gethin at MPC LA
Director: Saam Farahmand
Producer: Amalia Rosen-Rawlings
Prod Co: Black Sheep Studios
Record Co: Polydor Records

Best Editing in a Video in association with Cut+Run
Young Thug – Wyclef Jean
Editors: Ryan Staake & Eric Degliomini
Exec Producers: Ryen Bartlett / Nathan Scherrer
Director: Ryan Staake
Producer: Jeff Kopchia
Prod Co: Pomp&Clout / Freenjoy
Record Co: Atlantic Records / 300 Entertainment

Best Visual Effects in a Video
Leningrad – Kolshik
VFX: CGF
Director: Ilya Naishuller
Producers: Dimitry Mouraviev / Ekaterina Kononenko
Prod Co: Fancy Shot / Versus Pictures / Great Guns

Best Animation in a Video
Katie Melua – Perfect World
Animators: Karni & Saul
Directors: Karni & Saul
Prod Co: Sulky Bunny
Record Co: Dramatico

Best Live Session
Mura Masa ft Damon Albarn – Blu (Live)
Director: Colin Solal Cardo
Producer: Christophe “Chryde” Abric
Prod Co: La Blogothèque
Commissioners: Emily Tedrake / Semera Khan for Polydor Records

Best Live Concert
Rammstein – Paris
Director: Jonas Akerlund
Producer: Svana Gisla
Prod Co: Black Dog Films
Commissioner: Rammstein

Best Commissioner
Semera Khan

Best Producer in association with WPA
Nathan Scherrer

Best Production Company
Pulse Films

Best New Director in association with Time Based Arts
Matilda Finn

Best Director in association with Locomotion
Oscar Hudson

Best Artist
Kendrick Lamar

The Icon Award
Jake Nava

Video of the Year in association with Promo News
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment
bi

BAFTA Announces Breakthrough Brits 2017 in partnership with Burberry

Last night FAULT attended The British Academy of Film and Television Arts, commonly known as BAFTA announced their twenty standout talents in film, games and television. Revealed in partnership with fashion mega-house Burberry and hosted by FAULT Magazine Issue 24 star Maya Jama, the evening saw industry veterans gather to celebrate and impart their wisdom on the twenty budding talents. This year’s initiative is also supported by The Langham London and Audi UK.

To be named a Breakthrough Brit is an accolade to take seriously; since the launch of the initiative in partnership with Burberry back in 2013, winners have gone on to do great things some even collected their very own coveted BAFTA awards.

2016 winner Malachi Kirby (see his interview with FAULT here) career has gone from strength to strength as we’ve seen him ear the coveted part of Kunta Kinte in 2016’s retelling of Roots, a role previously played by Emmy nominated actor LeVar Burton.

The initiative doesn’t just cater to those within the film industry as is commonly thought, Games artist Anna Hollinrake appears on the list for her artwork featured on mobile VR game Lola and the Giant.

Similarly, Creative Director Henry Hoffman whose game Mush has already earned him both a Dare to be Digital competition and a BAFTA Cymru award and now he takes his place as a breakthrough brit as he continues to blur the lines between developer and creative.

Selected by a jury of industry experts including FAULT Magazine Issue 9 star Will Poulter and FAULT 27 star Reggie Yates – the diversity of the expertise speaks volumes for just how much talent there is and at such an early in their careers.

See the highlights from the night in the video below!  

Actors Jenna Coleman, Joe Dempsi, Suranne Jones and Vicky McClure revealed the names on the shortlist on the night and allow us to do the same below.

· Adam Vian and Thomas Vian – Game Directors
· Anna Hollinrake – Games Artist
· Charlie Cooper and Daisy Cooper – Writers/Actors
· Chloë Thomson – Cinematographer
· Daniel Fountain – Game Designer
· Francis Lee – Writer/Director
· Henry Hoffman – Creative Director (Games)
· Hope Dickson Leach – Writer/Director
· Jessie Buckley – Actress
· Josh O’Connor – Actor
· Kit Fraser – Cinematographer
· Lydia Hampson – Producer
· Mahalia Belo – Director
· Molly Windsor – Actress
· Olivia Wood – Games Writer & Editor
· Sarah Quintrell – Writer
· Segun Akinola – Composer
· Susan Wokoma – Actress

Amanda Berry OBE, Chief Executive of BAFTA, said: “Breakthrough Brits, in partnership with Burberry, identifies the very best emerging talent in film, games and television. As it reaches its fifth year, I am so proud of what the initiative has achieved, and the talented people it is has honoured. Over the next year, the Breakthrough Brits will be supported by BAFTA and mentored by some of the industry’s most established professionals. This year’s Breakthrough Brits truly represent the diverse range of talents that make up our industries. We’re thrilled to be recognising these individuals this evening.”

Click here for more information about BAFTA Breakthrough Brits, in partnership with Burberry,

Queen of Hoxton launches winter rooftop riad inspired by the Moroccan Medina

 

We’re excited to be going down to Tangier town tonight for the launch of Queen of Hoxton‘s winter rooftop launch. Inspired by the Moroccan Medina, the venue is set to be transformed into a little taste of Marrakech in London for the season. The rooftop bar will feature a mini-riad inside a custom-designed wigwam, replete with Baboushe slippers, ceramic tiles, twinkling lanterns, cushions and drapes.

 

 

Outside the wigwam itself, the rooftop bar has been completed revamped to replicate the sensations of the iconic Jardin Majorelle. We’re expecting blue walls, hanging plants, cacti in abundance – and swathes of Saint Laurent!

The Morrocan Medina inspired rooftop was orchestrated by Fables, the festival production team behind the notoriously decadent Secret Garden Party (RIP).

SAMPLE DRINKS MENU

Kasbah Coffee Martini (hot)

A hot Espresso Martini made with Amaro di Angostura, Tia Maria and Espresso, with Cardamom (hot)

Casablancan Mint Tea

A fragrant brew of Gin, Fresh Moroccan Mint Tea and Rose Water (hot)

The Majorelle Man

Orange liquor, whiskey, homemade date and pistachio puree, served on the rocks (cold)

Spiced Hot Buttered Rum

Our rooftop classic with a Moroccan spiced twist made with Sailor Jerrys, Apple Juice and Moroccan spices served in a mug (hot)

SAMPLE FOOD MENU

Halloumi Fries

Deep Fried Halloumi cheese garnished with pomegranate seeds, mint, fresh chilli and harissa yoghurt

Sherpa’s Tagine

Lamb and Apricot Tagine Served with Pomegranate and Mint Couscous

Shwarma Chicken Wrap

Shawarma Chicken Thigh, shredded Onion Salad, Hummus, Baba Ganoush, Harissa

Mezze Bowl for one of Board for 2 (Vegan Mezze)

Colourful Vegan Mezze of Pistachio Falafel, Vegan Spiced Kibbe (Bulgar Wheat
Croquettes), Beetroot Hummus, Baba Ganoush, Spiced Crispy Chickpeas, Roasted RedPeppers, Flatbread

 

http://www.queenofhoxton.com/

FAULT Magazine In Conversation With Reggie Yates PT.1

Photography Joseph Sinclair | Styling Rachel Gold @ Red Represents | Lauren Alice @MandyCoakleyRepresents using Medik8 and La Roche Posay

Words: Miles Holder

 

For those who grew up watching 1990s terrestrial television, Reggie Yates has always been a household name – the recognisable young face who young POC across the country grew up with as their pillar of cultural representation on children’s television. Programs have come and gone since he made his debut on the Desmond’s in 1993, but still to this day, Reggie is still a mainstay on our television screens.

In 2013, we were introduced to a new side of Reggie through his documentary ‘Reggie Yates’s Extreme South Africa’, I say this was a “new side” of Reggie, but for many of us it was the first time we’d ever gotten to know Reggie Yates the person as opposed to the Saturday morning television presenter. Lying alone in his tent and discussing how South Africa’s race issues were affecting his own perception of self, it was a million miles away from the Reggie I remembered interviewing Atomic Kitten on ‘Smile’ or from his seldom spoken about appearance on Celebrity Fame Academy in 2005. A real Reggie; down to earth, an undeniably, unashamedly “black” Reggie Yates.

As more projects have released, the idea of Reggie Yates as a documentary maker has gone from career pivot to career-defining; critics and viewers alike now hold his work in the same esteem as one might the documentaries of Louis Theroux or Andrew Marr – a merit not many young British stars achieve.

 

FAULT: All those years of presenting children’s television, was the plan always to move into documentary making?

Reggie: No, and to be honest, there has never been a plan until now. It’s only in the last decade that the focus has been on doing projects which I genuinely care for. I know where I’d like to be at forty years of age in my personal and professional life and at the age of twelve I just wanted to have fun and as I’ve matured my desires for my career changed.

FAULT: Your career is an anomaly; it prompted The NewStatesman to run a story entitled ‘Does Reggie Yates Have The Weirdest Career In Television?’ – do you feel as though it’s been weird?

I don’t think I do have the weirdest career on television, I would replace “weird” with “authentic”. When I was eighteen, the BBC were telling me that I was going to be a ‘Blue Peter’ presenter and I was like, “no I’m not.” I never watched ‘Blue Peter’ growing up, and it never spoke to me, and quite frankly, I didn’t care for it. For those reasons, I didn’t do it and they just couldn’t understand and didn’t get it.

FAULT: Blue Peter is a big gig to pass up, what did you do instead?

What I went on to do was doing children shows where it felt like I was allowed to be me in, I helped create ‘The Crust’ a sitcom we did in a tower block, and it had a predominately black cast and I was twenty-one at that point. I always did things that feel right at the time, and that’s why there’s been this crazy flow but if you study my career, it’s always moved me forward, and now, everything aligns. The book makes sense next to the documentaries, the documentaries make sense with the photography, and that’s what I’m spending my life doing. All about empathy and learning, growth, sharing and I’m not just taking pictures for the sake of it like I used to do, I’ve just shot an exhibition for amnesty international on refugees, and their stories are as important as the imagery, and that’s where I am in my career.

The night before our interview I had watched ‘Reggie Yates In A Refugee Camp’ which saw him enter the largest refugee camp in Iraq alongside 30,000 Syrian refugees. A news report played on the television showing the death of an Iraqi journalist only twenty miles from the cafe where Reggie sat. This now deceased journalist, much like Reggie, placed herself in the line of danger to get her story. One does wonder if that journalist was possibly the Iraqi counterpart of Reggie Yates, one whose career mirrors his own  and what it must be like to watch someone with such a shared experience, meet such a tragic end.

 

FAULT: What was it like to sit and hear the news on a journalist, possibly one whose careers closely mirrored your own killed so close by?

I can see why you can make the comparison, but I think I disengaged from the similarities because I’m not a war journalist, and in situations where bombs are going off, that’s the last place I’ll be. I put myself in situations which are difficult, yes, but it’s human interest stories which drive me. I look to find the heart of the issue through the people that I meet, and I don’t feel like I’m in a similar level of danger. It did sadden me though; her life was cut short because she was trying to do the right thing and open conversations and that’s wrong.

 

Throughout the documentary, we’re shown all the damning emotions one might expect from the people now forced to seek shelter within the refugee camp, but through all of this, Reggie reminds us of the power of friendship, love and compassion can make the worst of circumstances, that little bit easier. In the later episode ‘A Week in a Toxic Waste Dump’ we’re introduced to the Burner Boys, a group of young men working in dangerous conditions in the largest electronic waste dumps in the world – Accra’s Agbogbloshie. Much like the formerly discussed episode, we also end with the Burner Boys a little closer to happiness from when the documentary opened.

This isn’t the case with all of Reggie’s documentaries. In the previous series, we’ve seen him come face-to-face with the far-right, misogynists, racists and projects do inevitably end with his subjects no happier or less angry at the world than when the documentaries started.

 

FAULT: Has there has ever been a particular person who he wished he could have steered into seeing a happier way of living?

Every film there’s someone I meet that I wish I could steer to a happier future, but I think I have to be realistic about my capabilities. I can’t fix everybody that I meet in a documentary or the real world. My job is to connect with people and tell their story, but it’s not to change the world, and it’d be irresponsible and unfair for me to promise a relationship with everyone. A lot of people had said to me, “please tell me you stayed in touch with the Burner Boys and did more” but it’s hard because two weeks earlier I was in Iraq, and a month before that I was in jail in North Carolina and what about staying in touch with those guys?

I don’t do these films as a one-off project; I’m not some kid on a gap year building a house in Africa and pissing off forever. I have plans where there is legacy, and I return; for instance in Kenya and Iberia, I’ve been back several times. In Awal, I was affected by being there and my connection to the land from being of Ghanian decent I’ve started the ball rolling on a campaign to bring about change. It’s not something I feel the need to shout about here because I’m not doing it for promotion, I’m doing it out of personal responsibility as a Ghanaian the position that I’m in.

 

FAULT: You touched on a point saying that you’re not a student on your gap year going in and fucking off. How do you respond when people counter with the argument that you’ve gone into Iraq, made your documentary and then like you say, fucked off?

It’s a very easy answer; the difference is I’ve made a film about it which you and many people have seen across the country. It’s started a conversation which wasn’t there before, and we don’t know what the legacy of that documentary will be – it could sell internationally, and it explains displacement in a way I’ve never seen before. I’ve done something different and original, and it will effect change even if it’s just in the attitude of the audience watching it.

 

FAULT: Do you have any career regrets?

I don’t have any. There are things I could have done better, things go wrong all the time, there are documentaries which I’ve made which have been a bit rubbish, but I’ve learnt from all of them, and it’s cheesy textbook crap, it reigns true. It’s essential that I celebrate my failures as much as my successes because of nothing is a better teacher than failure.

 

 

In Pt2 – we’ll discuss Reggie’s new book, future projects, race and above all else – FAULTS.

Coming Soon…

 

Unseen: My Journey by Reggie Yates published by BBC Books, price £18.99 | THE INSIDER S2 is available on BBC3

FENTY Beauty Is About To Top Christmas Lists With Their Release Of The Galaxy Collection

A few weeks ago, FAULT attended the London launch of Fenty Beauty and from seeing the collection up-close, we have hopped on the hype train. Today, we’ve received information that Fenty Beauty’s holiday collection will be releasing THIS FRIDAY and we can barely contain our excitement.

Entitled ‘The Galaxy Collection’, you’ll truly look out of this world in their glitter-drenched assortments of lipsticks, glosses, eyeliner, eyeshadows! In Rihanna’s own words, the songstress turned business tycoon wanted the collection to be “glitter on glitter on glitter” and as a fully fledged “female boss” what Rihanna wants, Rihanna gets.

Fenty Beauty has already cut a swath through the exclusive beauty industry with the inclusive message of her line of Fenty foundations in over fifty shade. We have no doubt that the new Galaxy collection will be another top seller and it’s most certainly on the top of our Christmas list this year!

 

 www.fentybeauty.com     

Film, Fashion and Music Culminate in one outstanding Made By Google Launch Party

 

Last night Google launched the second generation family with a new Pixel, Google Home Mini and Max, Pixelbook, Pixel Buds, Google Clips hands-free camera and updated Daydream View headset, tech lovers were sent into a frenzy as they watched the reveals unfold.

This excitement is not misplaced either, the first generation iterations of many of these products took the market by storm and have long been lauded as far superior to similar products in the market; so as you can imagine, the expectations were high for yesterday’s release.

We’ll save the device by device deep-dive for the tech magazines, where we’re concerned is aesthetic and this new range is beautiful. The coral and slate palette allowed for the Google Home Mini and Max to sit within both modern and traditional households, proving that Google is the only brand to put that level of thought into interior architecture when designing their home assistance speakers.

For our readers working within in the creative industry, you’ll most certainly want to read up on the new Pixelbook and Pixelbook Pen. We had a quick play at the launch party and there truly is an application for the production within literally every corner of the industry. Fashion designers can benefit when sketching new collections, photographers can dot retouch right onto the photo without the need for additional graphic boards, the sleek design allows for fashion writers to review collections live from the front row; truly a product we’ll be looking into more.

Of course, no launch is complete without a star-studded launch party. The night saw a whole host of industry leaders from the worlds of fashion, music, art and pop culture celebrate the new Google family. Previous FAULT stars Ella Eyre and Maya Jama were in attendance alongside the likes of Jourdann Dunn, Jack Saunders, Lady Leshurr and Neelam Gill to name but a few.

Music for the night was provided by DJs Nick Grimshaw and Maya Jama performs awesome respective sets for those inclined to boogie. Taking to the stage for a live set, Nadia Rose brought the house down with an energetic performance and even brought out beatboxer mid-performance (you’ll know the significance of this if you saw her Glasto set…We did!)

The wonderfully interactive evening featured a whole host of playrooms where party goers could interact with the new technology, 360 videos, sensory overloads, doughnuts and fun! It all gets a little hard to explain so just enjoy the photographs below.

 

For more information head over to Google Store

 

Sneak Peek of Nat Wolff inside FAULT Magazine Issue 26

Words: Cody Fitzpatrick

In his 23 years, Wolff stars in a film adaptation for Netflix of the manga series Death Note, in which his character comes across a notebook that gives him the power to kill anybody he pleases by simply writing their name in it.

He’ s also in the forthcoming rom-com Home Again and the animated feature Leap! , in addition to a bunch of other stuff that’ s not yet finished. Still, he finds time to be active in his pop-rock duo with his brother, Alex.

We catch up with Natt inside FAULT 26 for an exclusive photoshoot and interview – see the preview below!

 

FAULT: How have you grown or changed since The Fault in Our Stars?

NatThe Fault in Our Stars was super-important because it put me in touch with John Green, who became a good friend of mine. And I also got to work with Shailene Woodley, who Ansel [Elgort] and I both learned a lot from. I became friends with both of them. And then I got to work with one of my buddies, Josh Boone, so it was a big, friendly affair.

But I also think the book was very important because it introduced me to a lot of patients who were battling cancer—and also other diseases—who I think felt recognized by the book and the movie. I actually ended up having personal experience in my family with that, so it was an extremely personal and important experience for me.

 

FAULT: In Death Note, what motivates Light Turner? What does he need in life, and what’s he willing to go through to get it?

NatI think he feels unheard and misunderstood. When he gets this power, first he uses it to kill they guy who killed his mom, and then he uses it to kill the rapist high school bully. Then things start spiraling out of control.

I think Death Note is good wish fulfillment for anybody who’s ever felt like the world was against them. In an immature way, he kind of has to learn to grow up.

 

FAULT: Do you have any upcoming plans for Nat & Alex Wolff?

NatWe put out an EP in December called Public Places. Alex has been jumping around working in a bunch of films, too. So whenever we’re not on set, we’ll play shows in the city or maybe do a little tour—things like that. In August, we have this little thing of time, so hopefully we’ll get back in the studio for a little bit.

 

FAULT: You seem insanely busy. What do you like to do when you’re not working?

NatWhat do I do, or what do I like to do? I spend a lot of time refreshing Google to see what the next disaster is in my country.

But what do I like to do? I have a really good group of friends in New York. I think that’s why I end up gravitating toward New York any time I’m not working. I definitely like being busy. And if I’m not busy, I find ways to stay busy.

 

GET THE FULL SHOOT AND INTERVIEW EXCLUSIVELY IN FAULT ISSUE 26 – 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