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,

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

Astroid Boys assemble an exclusive FAULT playlist

It may only be midweek, but that didn’t stop Astroid Boys joining us for an exclusive Rock VS Grime playlist. Here are there top picks from both worlds.


Manga st hilaire – running out

It’s an old song but the lyrics are spot on.
Relatable. Honest. Powerful.

Mace – fresh prince of the diff

A top Cardiff boy talking about being king of the ends and he is. He always brings good energy

Sonny double 1 – mo farah

A top Cardiff anthem and always gets the crowd bouncing
Known him since I was a kid.

Faith – berry

London born Cardiff resident – beautiful girl beautiful voice. Great song

Daniel og – solange

Classic good flow. Raps. Vibes. Beat selection.

Turnstile – gravity

Energy energy energy.

Trash talk – awake

We have great memories of touring with them – great band and great tunes.

Death grips – guillotine

Pure unrelenting brutal aggression.

Expire – just fine

Good memories of arms swinging in Europe supporting them on tour.

Rotting out – street prowl

Makes me wanna cycle really fast down hill


Check out Astroid Boys’ own ‘Cheque’ below.


Catch AB on Facebook, Twitter and Instagram.

Phantom of the Opera: We tour Her Majesty’s Theatre to meet Ben Forster as he finishes his time in the iconic role

Since it opened in the West End in 1986, The Phantom of the Opera has been a staple of London musicals and is now the second longest-running West End musical ever. Since 1st February 2016, the man at the helm of the titular role has been Ben Forster. Here, as he prepares to exit the show, we caught up with Ben to get candid about the experience of playing such an iconic role.

Let’s start at the start: tell us about how you got involved with Phantom, and how you came to even be considered for the role…

So obviously I did Superstar, the TV show, so I met Andrew [Lloyd Webber] throughout that whole process and I think working with him and having a relationship over that period was something that was beneficial. When I then did Evita for Bill Kenwright, it was a completely different scene; it was only a cameo, but performing ‘On This Night of a Thousand Stars’, it was very operatic and I don’t think anyone had really heard me do that sort of style. I knew I could do it because I’d trained in those sort of styles, but I was mostly known at that point for singing pop/rock. Andrew saw me do that on the opening night, and he came up to me afterwards and said ‘I think you’d be an amazing Phantom.’ I was like ‘really?’ – I thought I’d been pigeon-holed. When he said it to me, I said ‘just tell me when’. The next day I was at his house to sing through the soundtrack.


Were you already familiar with the soundtrack at that point?

I knew them all because they’re so famous, and I’d studied them at college, so I felt OK. I went to his house which was just ridiculous, and we were just sitting there singing through the songs. It was an amazing experience, and he was just immediately like, ‘I really think you’d be able to bring something new to Phantom.’ Next I came in to sing for Cameron [MacKintosh, the producer] and they offered me the part. I had to wait a year before it was announced.


What is it about Phantom you feel keeps it pulling in audiences after 31 years?

I think it’s completely a mix. The music is amazing, but it’s when you mix the music with the set, the visuals, the costumes, the actors and singers, the lighting, the sound – everything just comes together and creates magic. Not many people have seen Phantom just the once – they’ve seen it two, three, 10 times, and it’s because it keeps evolving. My interpretation would have changed it for a whole new group of people, and the next Phantom and Christine will do the same. You’re coming back and you’re seeing a different layer and a different perspective on a role which you already love because you’ve invested in it before.

What’s been a highlight of playing the Phantom for you?

There’s been so many! Winning an Olivier award – it was amazing. Going into the 30th Year we did an amazing night; Michael Crawford was here, the original cast, and there was just such an electric atmosphere… a night I’ll never really forget. The stage door is always a highlight for me – though I know some don’t like doing it. But [Phantom] is one of those parts that’s been done by so many people, and you can question yourself constantly about whether or not you’re living up to someone’s expectations, or whether you’re doing it right, and when you go outside and there’s 50-60 people outside saying, ‘Oh my god, I was in tears, I really felt your performance.’ Even if it’s just those 50 people who liked it, and nobody else did, at least I’ve left an impression on someone. All actors are really insecure, so it really helps.

How about your favourite scene or song from the show?

The final lair: it’s where everything starts to make sense. It’s when I can really turn the audience to feel something for me. I’m such a monster at the end – I think you could almost think I could kill Christine there. It’s the most challenging part, both in terms of vocals and in acting. It’s a brilliant scene, one of the reason I still love the show, and why it continues to challenge me. That’s what makes [being the Phantom] the best part in the West End.

I saw a review praising your performance as ‘creepy yet vulnerable’ – it’s true, despite all his shortcomings, we do feel empathy for the Phantom. How do you find the balance between portraying the two?

It’s hard. This not a criticism of any past Phantom or performance, but I really felt he should be a monster – he does kill people, 30-50 people throughout the show – he should be scary. He has no social or human skill, he should be quite terrorizing – there’s so many lyrics that give that away. He’s quite mentally ill, he’s been put in a freakshow, he’s escaped and lived underground. Even though he’s a genius, he’s still not right. I wanted to scare people, and make people scared of him. The problem is that if you push that line, you have to make people feel for him in the end. You should almost want Christine to stay with him, even though it’s completely wrong. He’s crazy! And a murderer. But there’s a side in everyone that’s felt abandoned and lonely, and your human heartstrings as an audience member should see him as a human being. If someone was born with a distorted face these days, they wouldn’t be [cast aside], it’s a different time and world. If you look at the real truth of it – that he was just a disfigured, disabled man – now, that prejudice wouldn’t stand. When people say I’m crazy or scary or creepy, I take it as a win!

Tell us about the daily makeup and costume process…

It takes about an hour and a quarter, which has been whittled down loads. When we started it was closer to a three-hour process. Michael [Crawford] used to get the prosthetic pieces put on his face, but now they’re all hand-painted. There’s a bald cap that goes on my head, and then there’s prosthetics that get put on my face, and they’re hand-made and hand-painted every show – nothing’s kept. It changes every day and is so fresh and organic; everything is done to an impeccable level. There’s 6 or 7 makeup artists available, but its usually lead by my main makeup artist, Tanya. There’s also 2 wigs, and then a full face of makeup.

The fans are such an integral part of Phantom’s success – they love you on Instagram – how much do you let their feedback, be that positive or negative, shape your portrayal of such an iconic character?

I’ve had someone at the stage door giving me notes before; ‘When you sing this line, I think you should do it a bit more intense’, and I was like, alright, there’s like 5 directors who are all paid to tell me what to do. But it’s fine, everyone has a favourite Phantom and a first Phantom, and people are always gonna compare me. I know that I’m doing a really different Phantom to what most people do. Sometimes when I watch others I think, they could have done that more, or this less. Actually, I just have to trust my own interpretation, I know in my mind who the Phantom is, and I wouldn’t have sang that line any more intensely, or softer. I’ve thought about every single line I sing in the show. It’s been worked through the entire team here, and I trust them completely. As soon as you question your integrity and body language, you don’t look or feel comfortable doing something, it’s suddenly not believable. Same with Buddy [Elf the Musical]– you’ve got to commit. If I’m gonna come in and go ‘SAAAANTA!’, you’ve got to do it from the innermost parts of your body and not feel like an idiot! There’s performances I’ve seen that I’ve loved that get a bad review, and much the same, seen comments on Twitter praising performances I didn’t care for. As long as some people like me, I don’t mind!

You’ve been spending time with new Phantom Ben Lewis – what advice have you passed on ahead of him taking over the role?

I’ve been telling him all the little tricks that no one will tell him! The things that you’d probably never notice. There’s a part where I’m hiding in a cross [in the Graveyard scene] and no one told me there’s a fan in there – for like 2 months! It’s so hot, it’s like being in a coffin, for 7-10minutes. One day I accidentally pressed something and a fan came on! No one told me there was a fan. It’s little things, there’s a fan in the cross, there’s tissues in the Angel [when The Phantom waits in the Angel ornament, hovering above the audience]. Even how to put Christine down, I worked out if I put my leg a bit higher up on the boat, I don’t have to bend down as much to put her down.


This Christmas you’re returning to the titular role of Elf in the musical- what was it about Elf that made you want to come back?

Elf is one of those absolute treats of a job. It was terrifying before I first did it [he previously played the role in 2014 and 2015] as I’d never done comedy, nor thought I was funny. I didn’t know whether I’d be able to make people laugh. It’s a massive crowd, and if a joke doesn’t land and no one laughs it’s really terrifying. But when it goes right, making 2,200 people laugh is a great feeling. It’s beautiful, and that story has such a nice heart. It’s perfect for Christmas. When I was asked to go back, I did debate whether I should be going back and forth in my career, but it’s one of those things, I’d miss it at Christmas if someone else was doing it in my place. I’m really looking forward to it!

How does Phantom compare to Elf?

I love that my career is being seen as that versatile. I feel finally I’m not being pigeon-holed. The similarities between the two characters though is that they’re both hidden children. The Phantom hasn’t ever really grown up, he’s not experienced life… and Buddy hasn’t either. One’s crazy and a bit weird, and one’s an elf!

What can we expect in the coming years? You have original music coming out…

Hopefully more of a ‘me’ year! I’d really love to get back to my music next year. I’d love to get out performing my own stuff. Maybe a different slant, as well as whatever else may come. I’m really looking forward to next year. I’ve worked solidly with just Sundays off since I did Rocky Horror. It’s been really intense and I’ve got six weeks off now. I want to take a nice holiday, see some places and come back and record and tour.


What is your FAULT?

Saturated fat. I just love eating! I love food. And I just can’t eat that much… I constantly battle, picking the healthy option, trying my best, but then every weekend I just eat, eat, eat, and feel awful all weekend.

You must burn some calories during the show?!

Yeah, but I’m stopping that soon! But I’ll carry on eating. My FAULT is dieting and food because I’ve gotta stay fit for my job. I love a sandwich… and cake… and coffee!

Do you work out for the show as well?

My voice doctor, when I started Phantom, asked if I was working out and when I told her yeah, she said, ‘you need to stop whilst you’re doing the show.’ She told me not to lift any weights, and not to do cardio. My neck was going really tense!


See more of Ben at his official website, or catch up with him on Twitter and Instagram.


Words Julie Bradley

Photography Jack Alexander

Sundara Karma – Live at Brixton O2 Academy

Reading four-piece Sundara Karma played their biggest ever headline show on 5th October to a delirious crowd at Brixton O2 Academy. Comprised of vocalist/guitarist Oscar Pollock, drummer Haydn Evans, bassist Dom Cordell, and guitarist Ally Baty, the indie pop/rock band has been making music since the tender age of fourteen.

With support from Willie J. Healey and The Magic Gang, the quartet kicked off their gig with gothic number ‘Another Word for Beautiful’, before launching into the more upbeat crowd pleasers ‘A Young Understanding’ and ‘Loveblood’.

The evening saw the band play the entire ‘Youth Is Only Ever Fun In Retrospect’ album, intertwined with a few old favourites such as ‘Flame’, ‘Run Away’ and ‘In the Night’; much to the delight of their captivated fans, who sang along with Pollock word for word on almost every track. The androgynous frontman even jumped into the crowd during ‘Vivienne’.

“Is heaven such a fine thing?” Pollock sang on ‘Olympia’, bathed in the blue luminescence of the stage, which shifted to red as the gig progressed, three white orbs glowing behind him. 

Ending their set with ‘Explore’, Drummer Haydn Evans cast his sticks into the crowd before the band exited the stage to a fittingly roaring applause.

Sundara Karma’s lyrics might be about the trials and tribulations of youth, but their evolved sound offsets their young years. Filled with entrancing guitar riffs and soaring vocals, a live show with them is not to be missed.

Words Aimee Phillips

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!     

The House of Peroni – A celebration of Italian Citrus

Ahead of London Cocktail Week, The House of Peroni has returned once more to East London with even bigger and better treats.

Celebrating Italian Citrus, the event transports guests from one immersive experience to another. Guided by the best mixologists, you can experience the streets of Italy in the heart of London through a series of reimagined cocktails tailored to perfection.

Award-winning mixologist, Simone Caporale, will reprise his role as Master of Mixology but this time with a twist. He has taken a team of bartenders, paired with creative experts, on an inspiring trip to Northwest Italy where they were challenged to take Italian citrus fruits and translate them into bespoke Peroni-infused cocktails.


The line-up of guest bartenders includes leading mixologists from Swift, Chiltern Firehouse and The London EDITION, who will be coupled with the founder of florist Grace & Thorn, fragrance specialists from Earl of East London and illustrator, George Greaves. These innovative partnerships are designed to push the boundaries of traditional mixology, fusing scent, sight and taste to create something truly unique for visitors.

Their creations will include:


Inspired by the Chinotto groves of Liguria this cocktail features dark rum, Martini Riserva Speciale Rubino, Amaro Nonino, chinotto jam and grapefruit and lemon juices. Topped with Peroni Ambra, the drink is completed with Luxardo cherries.

                                                            Created by Federico Doldi (Chiltern Firehouse) and Nik Southern (founder of florist Grace & Thorn)



Celebrating lemon and inspired by the Riviera of Cinque Terre, this infusion features sweet Falernum Liqueur, Martini Riserva Speciale Am


brato, Grappa Nonino 41 Tradizione, lemon juice, rosemary syrup and topped with Peroni Nastro Azzurro. The garnish features dry lemon and rosemary.

                                                            Created by Davide Manzi (London EDITION), Niko Drafkos and Paul Firmin (scent experts and founders of Earl of East London)




Inspired by the streets of Genoa, the drink features Peroni Nastro Azzurro Gluten Free, ITALICUS, bergamot sherbet and lemon juice, topped with a refreshing citrus sorbet and thyme.

                                                            Created by Mia Johansson (founder of Swift) and George Greaves (illustrator)



We most certainly enjoyed the immersive experience and full heartedly recommend it to both cocktail lovers and first time sensory thrill seekers.


The House of Peroni takes residence at 
N&C Showrooms, 3-10 Shoreditch High Street, London, E1 6PG

Thursday 5th – Sunday 15th October


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