Seal Exclusive FAULT Magazine Issue 27 Menswear Covershoot Preview

Seal

“These are people who succeed.”

Seal FAULT Magazine cover

Photography: Dvora | Menswear Editor: Kristine Kilty | Grooming: Evan Huang | Fashion Assistant: Lily Davies | Fashion Assistant: Hannah Sheridan |

Shot on location at Blacks Club, 67 Dean St

Words: Miles Holder

 

With a career nearing its thirty-year milestone, Seal is one of the few British artists to reach a universally agreed upon “legend” status. Never one to compromise on his artistry, style and unique God-given vocal talents; with four Grammy awards to his name, over thirty million records sold worldwide and releasing a brand new album entitled ‘Standards‘, we sat down with Seal to discuss just what it takes to carve out a career as prestigious as his.

 

Let’s take it back to the Seal of the early 90’s, for you, what has been your greatest area of growth?

The most significant change would be my understanding of the point of performance from the perspective of the audience. Performance is about communication, and I don’t mean that as simple question and answer, but where you and your audience share dialogue on different levels. I now understand my audience appreciate that they are as much a part of the production and experience as I am. I would like to think I’ve made a much more significant point about communicating and engaging with my listeners when I’m on stage.

 

 

Seal FAULT Magazine cover

 

What’s been your hardest personal FAULT and hurdle to overcome?

Fear. Fear in all of its other forms, its hurtful and deceitful forms. The most significant hurdle for me is very much the same thing. I find myself drifting too far from the moment, and when you’re a performer, that’s not healthy.

 

Why did you think now was the best time to release a standards album?

I always toyed with the idea of a standards record, and ultimately I love the songs as opposed to them merely being “standards”. They’re written in a time which is all focused on the voice, a time where singers sang, and dancers danced.

 

You’ve said that Smile is now your favourite song and it seems the people who love the song that’s it’s therapeutic, a reminder to themselves to smile through their underlying pain, is that the same for you?

I can’t listen to ‘Smile’ without tearing up. I like it because it doesn’t matter who you, what age, your culture, gender or outlook on life, the sentiment will relate to you. At some point in your life, we have all gone through an experience where you’ve had to force a smile through a situation. Smiling even though your heart is aching and all you want to do at that point is break down in tears, and you’ve got to smile through it. I find it the happiest and saddest song for me on a personal level. I feel the song, and now in my life, I feel the song resonates more than ever before.

We are living in a very turbulent time and hearing a song like ‘Smile’; it just holds a message that I most want to communicate. It’s chaotic, and it’s turbulent, but for me, the critical thing is to find balance and always remember to smile.

 

What is your FAULT?

Relationships. They’re hard for me, but I’m learning. And that goes for relationships of all kinds. Even with my children, when I’m trying to get through to one of then, and my method is not working, I’m learning that sometimes the best solution is to try something new as opposed to keeping to the same old routine.

 

FAULT MAGAZINE ISSUE 26 – THE BEST OF BRITISH ISSUE – IS AVAILABLE TO ORDER NOW

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Fault Magazine In Conversation With Reggie Yates Pt.2

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

Words: Miles Holder

 

Last time we met up with Reggie Yates, we discussed his experience as a documentary maker, growing up in the spotlight and his career goals – you can see PT.1 of our interview HERE. With the release of his new book ‘Unseen: My Journey by Reggie Yates’, we caught back up with Reggie to discuss the motivations behind the book, the most impactful passages and what else we can expect to see from his career that keeps on giving.  

 

Hi Reggie, can you talk us through why you chose to release ‘Unseen: My Journey by Reggie Yates’, and why now?

I presented the idea because I realised I had a responsibility thanks to the position my life is in at the moment. My voice is the loudest it’s ever been, and I feel like I’m using it responsibly through my documentaries but not releasing enough content, and the book is another way I could help effect change. It’s not an autobiography, that’s something I’ll do at a much later date, it’s a book about the documentaries and what drove me to make them and where my mind was at that time.

 

Why did you feel that it was important to share these stories?

I think sharing that was important because, for 19-year-old me, there was no one talking about challenges they had faced in the industry. I didn’t have stories about what it means to be a minority within a minority within a minority, to be the only person of colour on the studio floor with hundreds of other people but it was me holding the microphone. I wasn’t very prepared for the feeling of saying something and having people not get it, or find it aggressive because they lacked cultural understanding. It’s not their fault; there just wasn’t a point of reference for them at the time.

 

Did you write the book while you were shooting or is it in retrospect taken from memoirs?

I wish I had time to write while I was shooting. I would write down everything I remember, then rewatch the documentary to jog my memory. I spoke to friends, and my director about what they remembered about me when I got home from filming and all of that makes it into the book.

 

In the chapter ‘Riots and Me’ you speak about the young black London kids who at the time were angry. You go throughout the chapter drawing on your shared experiences, but are you also conscious that the Reggie Gates experience is maybe a million miles detached from the environment those children grew up in?

That’s a good point, and I am aware that for a lot of the people I talk to, sometimes the only common ground we share is the fact that we’re both humans. When I draw on loosely shared experiences, it’s a way of me trying to bridge the gap between the audience and the people I’m interviewing so we can have a greater understanding of what drives the person’s decisions. I’m not desperately trying to find similarities, and it’s just me trying to find out and understand why they are the way they are.

 

There’s a passage in your book where you talk about a makeup artist applying makeup “two shades too light” for you; it’s a passage which resonated with me because I understood that as a grievance for black models and black people on TV in general which many don’t speak up about. It’s subtlely mentioned, and might fly over the heads of readers who don’t understand the significance but why was it so important for you to include the passage in your book?

It’s actually from the very first paragraph, and it’s funny, that even as a child I recognised something was wrong with that, and you’re the very first person to recognise that passage for what it was, which says a lot about how oblivious many are to the minority experience in the industry. We notice things on a daily basis but have to rise above it quietly because we don’t want to upset people with our “blackness”. I put it in the book because I don’t think people recognise how exhausting it can be to bite your tongue through those situations but people are out there trying to change that, and I believe we will.

 

Every project we get to see a different side of you, are there any topics that you haven’t had a chance to speak about thoroughly?

I cover a lot of it in the book, but no one has ever unpacked with me what it means to be black and on television in the UK. What it means to have ambitions in the media but be from a working-class background be you white or black. To me “diverse” means to be “the other” and it’s important that when I say “the other” or “diverse” that people understand that I also include many white communities and working-class white people in that. All of these diverse perspectives are entirely lost in the media sometimes, and you don’t see people like us on any grand scale or any drive to change or understand that. We talk about investing in talent but it’s always talent that’s already on its way up, and there’s not enough put into developing new talent.

 

What’s the next step for Reggie Yates?

I have an exhibition with Amnesty International, and I’m also exhibiting at The Tate, I have a lot of photography going in there, and hopefully one day I’ll release a photobook because I have over 15 years of imagery which I’m proud of.

 

Do you have a favourite photographer?

I’d have to say Viviane Sassen, I got given her ‘Flamboya’ photobook for Christmas years ago, and found it so inspiring. She finds the middle ground between art and photography which is something that I’m interested in doing and her a lot of her work looks like sculpture and paintings; that’s where I want to be.

 

A lot of Viviane Sassen’s work is praised for showing the real beauty of being “the other” – in many ways that’s what you’re already doing in your documentary work.

I think that’s what draws me to her work; it’s interesting seeing her go from fascinating art projects to doing an ACNE campaign and photographing it in the same way she’d shoot East-African men on the beach. I’m fascinated by her work because she is an artistic photographer but the way the fashion world is embracing her has helped blur the line between art and fashion, and that’s what I love to see.

 

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

 

 

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

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

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

 

Martin Garrix covers FAULT Issue 26 – available to order now

Martin Garrix was shot in Ibiza by photographer Eva Kruiper and styled by Rachel Holland exclusively for the front cover of FAULT Issue 26. Click here to pre-order your copy of this issue!

FAULT Issue 26 cover star Martin Garrix was shot by Eva Kruiper and styled by Rachel Holland. Click here to pre-order your copy of this issue!

Ten minutes into an hour-long conversation with Martin Garrix, it’s blindingly obvious that there’s something more simmering underneath the surface of what people now call ‘The World’s Number One DJ’.

If you dispel the chaos and sparks that surround him on a regular basis, you’re faced with a 21 year old who is wise beyond his years – maybe even too smart for his own good. Martin is the brain behind the songs that we’ve had stuck in our heads for the past years. He knows what we want to listen to before we do. Labeled as the top EDM DJ and a self-confessed computer nerd, Martin’s got it all figured out. What makes him tick though? We try to find out. Here’s Martin Garrix – FAULTs and all.

On the pressure that followed after ‘Animals’:

“I made ‘Animals’ as a club song. I couldn’t wait to play it live to like… 300 people at that time?! Next thing I knew everybody started playing it. And then the pressure followed. The label people were like – so when’s the follow up coming? I had no fucking clue. I had nothing.”

On maintaining his integrity as an EDM artist:

A lot of EDM artists go like – ah you’re a sell out. [After the radio success of ‘Animals’] It took me a really long time to get my credibility back in the club scene. I had to do a crazy amount of club songs. And radio people kept asking about new radio singles. I had to shoot them down every time until this year – when I started doing radio songs again.”

Martin wears looks by McQ by Alexander McQueen, Homme Plissé by Issey Miyake and more in the lavish ‘I Am On Top of the World’ penthouse suite at the stunning Ushuaïa Ibiza Beach Hotel in Ibiza

On his personality:

“Oh me? I’m just a nerd, a pure 100% computer nerd. And I’m always very happy. If you ask anybody – they’d just say that I’m a crazy person who always runs around with a big smile.”

How he handles the pressure of being in the public eye:

“At the end of the day, I have a responsibility to put songs out there for my fans – so you won’t really catch me drunk before a show. I do drink and go out with my friends, but I have some common sense not to Snapchat the whole thing, do you know what I mean?”

On his decision to launch STMPD RCRDS:

“I started my own label last year called STMPD RCDRS – just so I could do whatever I wanted and whenever I wanted it. Now nobody can tell me what I can and can’t release. Plus I really wanted to support new talent in the industry – but it’s nice that I’m able to do whatever I feel like.”

On “the naughtiest thing he’s ever done”:

“We were in Paraguay … We came back after doing a show and I really wanted to go for a swim. The swimming pool was shut and I had nowhere to go – apart from the small pool in the hotel lobby. It was more like a mini-fountain, totally part of the hotel décor, by the way.

“And I just went swimming in there. Which was more like lying on the floor playing with water ’cause it was about 10 cm deep!”

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Jaguar unveil brand new E-PACE with star studded event.

 

Last week Jaguar hosted a star studded event filled with music, fashion and unrivalled cinematic styled stunts. With a clear focus on style, luxury and entertainment, we attended to see if the British manufacturer could mirror the same booming successes of Britain’s current luxury fashion and entertainment industries.

The event was all in celebration of Jaguar’s brand new compact performance SUV, the E-PACE. On first glances, it’s clear that Jaguar has combined their legacy of artistic and unique design prowess with the comfort and practicality of a five-seater body.

The E-Pace exterior design is sleek, tasteful and above-all-else one of the most fashionable designs you’ll find on a five-seater SUV on the market. The interior boasts modern amenities from its five USB connections, four 12-volt charging points and 4G Wi-Fi hotspot for up to eight devices; so despite the practicality of vehicle, owners will also benefit from the innovative amenities seen in sports car ranges.

We got to witness the aforementioned high-performance qualities of the E-PACE put to the test with famed stunt driver Terry Grant performing a 15.3 metre-long jump complete with a 270-degree ‘barrel roll’ across London’s EcXel which landed the car safely into the official Guinness World Records book.

Coming in at an affordable £28,500, Jaguar has opened their arms to both a younger and more practically minded consumer base commendably without compromising on the great design we’ve come to expect the manufacturer.

Director of Design, Ian Callum has this to say “Established Jaguar design principles ensure the
E-PACE is immediately recognisable as the sports car of its class. Our new compact SUV combines the interior space, connectivity and security that families expect with the kind of proportions, purity of design and performance not usually associated with such a practical vehicle.”

But the night was not only for lovers of fast cars and stunts as the presentation was rounded off by a whirlwind set performed by Pete Tong, The Heritage Orchestra and special guest Raye, the latter of whom we spoke to only a few weeks ago. Discussing the set after the show, Raye jubilantly told FAULT:

“It was such an incredible experience to perform with Pete Tong and The Heritage Orchestra! I’ve always been a fan of fast cars and have fallen in love with the new E-PACE – it’s beautiful!”

Fashion model and (true) philanthropist David Gandy was also in attendance on the evening. David Gandy has long-been associated with Jaguar, and we asked what from the lineup he was most excited for

“I’m always excited Jaguar’s new launches; there’s no one thing I can tell you I am most excited for tonight because there’s no one thing I love about cars and the brand”.

In all honesty, these events aren’t something we cover too often as they can be rather boring in the eyes of our affluent younger readership. Many times unveilings can miss the mark of what younger audiences are interested in, so we must commend Jaguar for engaging and understanding that their contemporary fan base is harbouring an appreciation of luxury, design and technology without any less of the excitement afforded to them elsewhere.

The evening even boasted a spectacular VR demonstration of the E-PACE which allowed us to get a close-up, 360 inspection of the internal components which allows for such a practical car to perform so well. Blending the innovative and exciting technological advances of Jaguar with the equally compelling format of VR technology was a genius move on their part.

All in all the event was a success, and from what we’ve heard from the automotive journalists in attendance, Jaguar is set to see a winner with the E-PACE. Our take away from the event is Jaguar’s clear and successful push from Jaguar to be an industry leader for the often forgotten consumer base of the young and affluent. The musical performances, showcases and incorporation of new technology are a clear signal that despite over eighty years in the business, Jaguar is still very much on trend.

 

 

FAULT Magazine Reviews: The Trading House

Summer has finally landed in London, and as promised, FAULT Magazine is putting together our very own ‘Where To Dine Summer 2017’ guide to let you know of all about London’s best restaurants.

We recently visited Trading House to see what it had to offer and despite being in banker central, on entering, we were amazed to discover so much life and soul within the venue. With a live performer and marvellously rich décor, we were off to a good start so let’s dive into the meal!

We began where all good meals should, at the bar, where they have an extensive wine list and even larger (and more fun) cocktail menu. From the offset, the bar staff were ready to make our experience as unique with their cocktail menu which boasts original twists on old English classics. To put this into perspective, they can make five different variations of the world famous mojito from a Spiced Pineapple to a softer tasting Peach & Cardamom variation. It being summer, we opted for their Elderflower Gin Coolers and Karma’s A Bitch cocktail; the latter mixes gin, apricot, homemade karma tea-infused syrup and while I have no idea what karma tea is, it’s certainly delicious.

Their nibbles menu is also sufficient enough if you’re only planning on visiting for a few drinks after work too. Start your evening with crispy whitebait, salt and pepper onion petals, pork crackling and or olives if you’re only popping in for a short amount of time.

For our starters, we were spoiled for choice with Trading House offering scotch eggs, calamari, truffle mushrooms, smoked haddock fondue and many other restaurant favourites. We went for the classic dishes to use as a point of reference and compare them to what we’re used to from another restaurant. With that in mind, we tried the crispy calamari and wings in barbeque sauce which were both to die for. The calamari was coated in Piri Piri salt, and I don’t believe I’ll be able to eat them any other way from now on – a great start!

Moving on to the mains and again, we were very impressed by the comprehensive menu. Don’t be put off if you’ll be dining with less adventurous dinner guests as The Trading House caters for everybody. While the lure of the unknown and adventure might take your fancy, The Trading House also features classic dishes such as fish and chips, flat iron steak sandwiches and pan-fried seabass for those with a less adventurous tongue. We thought it’d make for a better review to go with the more out-there offerings however and lucky for us the menu is a playground for the adventurous diner.

Choosing a main course was difficult, and quite frankly, it begs for a second visit because everything sounds delectable. From the new Orleans inspired, prawn and chicken gumbo to lamb kofta or their selection of pies, all of it looked amazing but what The Trading House is famous for is their Hanging Kebabs so it’d be rude not to!

We opted for the salt and pepper pork belly which arrived on your very own spit with the chips at the bottom ready to soak up any rich and flavoursome sauces which drip upon them. Accompanies with sweet chilli and ginger sauce, the meal was oozing with different flavours not often put together but ones which blend surprisingly well.
Non-meat eaters looking to enjoy Trading House’s hanging kebabs can opt for the halloumi, and falafel kebab alongside garlic butter and cauliflower couscous and if you’re a fish lover, Jerk Salmon alongside rice and peas sounds and looked amazing.

If by chance you can still manage dessert, the white chocolate and peanut butter mousse with chocolate and ginger crumb are as great as it sounds. If you don’t share our sweet tooth, we can with real confidence recommend the cheese board.

We admit when we first heard of the Trading House and it’s location in Bank we were a little worried that we’d find nothing but a tourist trap filled with false charm and unnecessary theatrics but we, in fact, found the complete opposite. The Trading House isn’t a themed restaurant, nor one that tries too hard to force a feeling of exclusivity despite its high-end level of customer service. Their cocktails all come at a fair price and in London, it’s not often you’ll be able to get a three-course meal of this quality at under £30 per head.

The Trading House is a great location for laid back date nights with or casual drinks. What that area of London has been missing for too long is a restaurant that provides excellent customer service without compromising the human touch and charm required. For us, Trading House is the perfect example of how to strike the right balance.

Trading House – one of the finest examples of fresh ideas and exciting cuisine in a part of London that sorely needs it. For us, this is one of 2017’s must visits!