photographer CHRISTOPHER POLACK
stylist FAUSTINA ROSE
model OLGA VLASENKO @ MAJOR MODELS
hair and makeup JOSEFINA FERNANDEZ
photographer CHRISTOPHER POLACK
stylist FAUSTINA ROSE
model OLGA VLASENKO @ MAJOR MODELS
hair and makeup JOSEFINA FERNANDEZ
FAULT Magazine Issue 18 – the RAW Issue features OneRepublic front man and unstoppable hit-maker Ryan Tedder on it’s internal Men’s Fashion section cover. In addition to the cover, Ryan’s feature – which includes an in-depth interview and exclusive photoshoot by photographer Kell Mitchell and stylist Patricia Villirillo – runs over 6 pages in the print issue.
FAULT: What was working with Leona Lewis for her break-through single ‘Bleeding Love’ like?
RYAN: I would’ve bet money against that song being a hit anywhere outside of the UK. That’s how cynical I was. I had no idea of the expectation that there was for it. I didn’t even know till after we did the song that she had been on X Factor.
FAULT: Did you feel any pressure from Simon Cowell’s label?
RYAN: Of course. Simon didn’t get to where he’s got by sitting back in the passenger seat and just assuming or hoping that things will just take care of themselves. His label is aggressive, flat out aggressive. They have an objective, they have a goal, a single-minded goal and everyone at that label is dead on in their approach. They’re like, ‘here’s when it’s coming out, here’s when it’s due, boom boom boom boom boom boom.’ When you’re making an album you can move things around, but when you have TV involved it is completely different. Their calendar is their bible. They cannot change the dates of when something is going to broadcast and so because of that they have a more militant approach.
FAULT: Does it feel different working on one of OneRepublic songs as opposed to a song for someone else?
RYAN: OneRepublic songs are a lot harder for me. I compare it to theatre. A OneRepublic album is a play written, directed, produced, performed by us, by me, but when it’s for another artist I feel like I wrote the dialogue, but I don’t have to stand on stage and deliver it, so I’m not the one getting tomatoes thrown at ‘em if it doesn’t go well.
On making pop music: “You have to have hits all the time: that is your currency. You have to have the most cutting edge, innovative, driving, fantastical songs that the world instantly reacts to. They don’t need a lot of thought, and you don’t have to dig deep. “
FAULT: Have you ever worked in the situation where the artist hasn’t been in the driving seat but it’s been the machine behind them?
RYAN: Yes. If the artist is part of the machine then they’re too busy to really artistically care, they just say, ‘Give me the biggest hit.’
…Or get your copy digitally via Zinio! 1 year’s subscription = just £14.40
With a decorated cast of award winners it’s no surprise that American Hustle became a breakout movie of the holiday season. Set in 1978, this crime comedy-drama is filled with laughs, twists, and outstanding performances by all involved.
For those of you who have yet to see it, the film is loosely based on a real story and follows con artist Irving Rosenfeld (played by Christian Bale). He makes his money selling art forgeries and convincing desperate men that he can successfully invest their money, promising he can turn a $5K investment into $50K. Of course, he does nothing but pocket the $5K, chalking it up to investments that just didn’t pan out.
He falls in love with a woman, Sydney (Amy Adams), who he meets at a party. Even though Irving has a wife, Roselyn (Jennifer Lawrence), and has adopted her son as his own, he and Sydney begin a relationship together. She then starts working with Irving to aid in his cons, but when they try and con an undercover FBI agent (Bradley Cooper), Sydney ends up in jail. In order to grant her immunity, they strike up a deal with the FBI to help them take down other mobsters in the area.
But as their plan grows and more people find out, things go from complicated to chaotic as they try and take down some of the most powerful men in the city.
Aside from the talented cast and epic hairstyles that can only come from a movie based in the 1970s, there are plenty of other reasons that make this film a must-see.
Everyone loves an exciting film based on a true story. It adds a touch of realism to the movie that allows people to connect to it more than an unrealistic tale that, while entertaining, people can’t relate to in the same way. Similar success was had by gangster film Public Enemies, a piece that PictureBox described as “Engrossing, entertaining and deliciously true” in their review. The same can also be said for recent successes like The Wolf of Wall Street, and Dallas Buyers Club.
Additionally, there’s something to be said for the outfits in a period piece. If the female characters’ costumes don’t convince you that the wardrobe department had the ’70s look down, the male characters’ outfits surely will.
Like any good gangster film, costume designers nailed the importance of having the male characters in a well-fit suit. Bale’s might have been a bit tighter and more… unique?… than usual. However, his attire—like that of other gangsters and members of the mafia—matched perfectly with that specific gangster-ish look. They take great pride in their appearance, which is evident during the opening scene when Bale’s character is gluing on his toupee. Also, they’re always making sure that they are the best looking guy in the room by displaying their wealth and status by the clothing they wear.
It’s no surprise that the film was up for dozens of awards based on wardrobe. According to IMDB, the long list includes nominations at the Oscars, BAFTA awards, and the Costume Designers Guild Awards among others.
Whether you enjoy comedies, crime films, or if you’re just in it for the fashion, this movie has a little something for everyone. The incredible talent on the cast list doesn’t hurt either!
FAULT Favourite photographic artist Christy Lee Rogers has announced her latest solo exhibition, this time with The Outsiders Gallery in London – the sister project to famous gallerist Steve Lazarides’ Mayfair-based gallery.
Christy’s latest series is entitled ‘ÉLAN‘ - French for vigour, spirit, and an enthusiasm typically revealed by assurance or brilliance of performance. It is a fitting title for her new body of work, another triumph of typically un-manipulated aquatic photographs. The series consists of 24 pieces in total and each will be sold as a number of very limited editions in varying sizes. Each piece has been heavily and patently influenced by the circus and, specifically, performances associated with Paris, such as the Moulin Rouge.
“I was inspired by Paris, the performances of the Moulin Rouge, the old circuses, wild abandonment and that feeling of letting go that explodes out of you like you’re drunk with love,” says Christy of her new work. “I imagined living in Paris during the1920s as a performer, with no possessions except for your talent and art, and how free, yet desperate, that would be.”
Shot in Las Vegas and set to be unveiled in London, this Hawaiian-based artist’s latest exhibition is not to be missed. Already considered a cult artist by a growing legion of fans all over the world, ÉLAN is surely another step in Christy’s inevitable rise to truly iconic status.
Catch her while you still can.
Private view: Thursday 12th June ’14, 6-9PM
13th – 19th June ’14, 11AM – 7PM
The Outsiders Gallery
8 Greek Street, Soho
London W1D 4DG
FOR MORE INFORMATION:
Please visit www.christyrogers.com
Lana del Rey has announced that her new album, Ultraviolence, will be released on June 16th via Polydor. In addition to the standard version, a deluxe edition is also available. Both formats will be available on download, CD and vinyl.
A Collectors Box Edition is also due for release, with the special version including a Deluxe LP Picture disc, 2 x LPs on heavyweight vinyl, a Deluxe CD digipack and 4x12x12 art prints.
Have a listen of the Album’s title track below!
The rich, mellow tones of Mary Roth marry perfectly with her superbly silky guitar playing skills on Sundowner, the new record (released today) by unsigned Los Angeles based artist HT Heartache. There is little room for error as a solo artist, especially for someone with such a raw, stripped back sound, and – based on her early releases (below: ‘Roam Cold Highway’ and ‘Cowboy Poetry’) from the EP – Mary carries it off superbly on Sundowner.
In addition to showcasing the two tracks available for free streaming on Soundcloud, FAULT are also pleased to showcase this exclusive album preview, produced by Gus Black:
HT Heartache online:
Please share to show your support to friends of FAULT!
Back in FAULT Issue 9 we featured Billy Nicgorski and his friends and family over at Cobb Studio in Philadelphia. Over the years, Cobb has hosted some incredible artists, including FAULT Favourites Black Rebel Motorcycle Club (Official Page), who are pictured recording behind the scenes at Cobb Studio in our feature (below, and on the support page).
Last month, their home and studio space was flooded, causing massive water damage and destroying thousands of dollars worth of equipment.
Please show your support and help fellow creatives and great people in any way you can!
To donate, or to share this link, please click here: www.gofundme.com/951shw
Check out Billy’s video (created with 2,146 pictures) of BRMC recording at Cobb Studio and playing ‘Mama Taught Me Better’ at an intimate local gig:
FAULT Issue 9 features an exclusive interview with Cobb Studio and band The Cobbs. Cobb Studio is owned and operated by Ryan Bernstein, Paul and Billy Nicgorski. FAULT’s forthcoming article will also include insider shots of recording sessions at the home studio in Philadelphia. So many legendary artists have spent time living and recording at the Nicgorski home including Black Rebel Motorcycle Club who recorded part of their albums’ Howl and Beat the Devil’s Tattoo in The Cobbs space. In addition to the guys recording session’s, they have played with everyone from BRMC and The Strokes to Clinic and Kasabian, FAULT also spoke to Robert Levon Been (BRMC) and Jay Mehler (Kasabian) about their time spent at Cobb Studio.
Full feature with more exclusive shots (courtesy of Billy Nicgorski) in FAULT Issue 9.
We recently had the pleasure of being invited to an evening of food, fun and frivolity at chef Gabriele Bertaccini‘s roving international pop-up dining experience – the delightfully named CULINARY MISCHiEF. Hosted by the Marriott’s County Hall Hotel in Westminster, London, Gabriele and his team turned the stunning and imposing location into a familiar setting for a remarkable seven course Italian meal. Inventive, gregarious and charming, the head chef managed to conjure an evening in the image of himself – some feat considering that the meal was attended by a group of total strangers. Brought together by a mutual appreciation for good food, however, this evening did not disappoint any of the guests. Indeed, the Spring themed menu was a triumph, balanced beautifully by a wonderful ebb and flow to conversation and accompanied by exceptional individual wine pairings and introductions from Gabriele to each course.
We caught up with head chef Gabriele to discuss his approach to creating a cultural dining experience, rather than just another pop-up restaurant:
Gabriele – first of all, congratulations for organising such a spectacular event (CULINARY MISCHiEF: Primavera) in London this April! I understand that this was only the second time you had organised an evening of ‘CULINARY MISCHiEF’ here in the UK – what took you so long?!
Gabriele: Well, thank you guys! The pleasure was truly all mine as the evening is only as good as our guests, so YOU really ended up making the evening, not me.
To go back to your question, CULINARY MISCHiEF has been the premier roving underground dining event in the United States for the last five years now and we were ready to expand oversea. London especially has been going through a change when it comes to food and beverage offerings including a more underground food scene -which is the category into which CULINARY MISCHiEF falls. People are hungry for more experiences where food and wine is, yes the center of the attention, BUT it is also – and most importantly – a tool for new and old friends to connect, to create memories together, to go back to a simpler and more experiential life. London has been amazing and the welcome we received is exciting and inspirational.
All the guests were raving about your menu that night – six courses including a superlative pea soufflé, specially made hand-rolled gnocchi that looked and tasted out of this world and an incredible meaty main course of veal. All were cooked to absolute perfection. Perhaps you could talk us through your process for deciding upon your menu for each event?
Thank you for your kind words. The menu was indeed a good one and like everything else in life it becomes even better when you know you will not be able to enjoy again and anywhere. That is also why all our menus are a one-time-only culinary creations. We never repeat a dish once. Never a menu one. Each experience is truly unique to its location, inspiration, time of the year and overall theme.
How do you replicate this concept all over the world to such a high standard when using a different team each time?
I take a lot of joy and pride in teaching and sharing my culinary and entertaining skills with the different people I have the pleasure to work with. For me, it is all about passion. You can teach skills, you can’t teach passion. I can sit with you and walk you through a recipe, but the love you put in it IS in fact perceived by your guests – and that I cannot control. It takes a lot of preparation, and it is important for me to make them (my team) understand that the success of the evening is mostly due to them.
At the Primavera meal, the wine was selected by the head of F&B at the Westminster Marriott Hotel, your location partner for the evening. How involved are you with choosing the wine pairings for the meal?
Very involved indeed! We usually select the wines after I craft the menus and we go through a tasting to make sure that the ones we selected are going to work and if not, what we can change. The relationship food and wine have together is comparable to being married. It is important that both elements are in harmony and that they know when to balance each other. The sum is greater than its parts.
We love the name CULINARY MISCHiEF – it captures the sense of theatre in what you do. The events are about more than just food, they are about social interactions with like-minded people, and, primarily, an evening of entertainment. Do you think that, with a growing number of themed restaurants and pop-ups appearing (particularly in London!) that people have come to expect this level of entertainment in addition to a purely gastronomic experience when eating out?
Everything I have done and I do is about much more than food. It is experience-driven. And so is CULINARY MISCHiEF, which marries the art of entertaining with the one of cooking, and guests have come to expect that from their ‘nights-out’. They want to be entertained, they want to be surprised, and they want to feel special. It is the host’s job (whether is the Chef or not) to do so, to make their experience unique.
How do you pick the themes and menus for each CULINARY MISCHiEF event?
The inspiration comes from many different elements but location has to be #1 on my list. The place where the event is held often dictates the type of menu, set up and overall feel the dining experience is going to have. Seasonality is my second most important inspiration as food has to adapt to its surroundings.
You have already grown CULINARY MISCHiEF internationally to Phoenix, LA, NY in America, Florence in Italy and London in the UK. Any plans to expand further? Either way, what lies in store for you and Il Tocco – what can we expect to see next from you?
As a Chef I am always on the hunt for new and exciting ways of sharing my passion and love for food and wine with the greatest number of guests possible. Of course, iL TOCCO FOOD & CULINARY MISCHiEF will keep going and going strong in the USA, UK and ITALY. I am however, working on creating a different and more permanent experience both in the USA and UK. You may want to get your calendar open, as it will be my pleasure to soon host you at our first brick and mortar concept….!
Thanks Gabe – we’re looking forward to it already!
The Primavera dinner menu included:
Light pea souffle with carrot juice vinaigrette and salsa verde;
Silky asparagus soup with quail egg yoke and parsley infused croutons;
Cloud-like squash gnocchi dressed with brown Italian butter and Treviso Radicchio;
Grilled veal chops marinated in fresh thyme and served with a ‘Sicilian caponatina’;
Sharp tasting palate cleanser with notes of Campari and Lemon
…and a Lavender cannolo with lemon thyme sauce.