Jameson First Shot : Three filmmakers win the Opportunity of a Lifetime & Make Short Film with Uma Thurman & Kevin Spacey

Uma_Thurman_profile - jameson first shot (Medium)

Uma Thurman for Jameson First Shot

FAULT Magazine has just returned from a sunny trip to Santa Monica, LA, as guests of Jameson Whisky. We flew out to view the winning films of this years Jameson First Shot Competition. It’s a once in a lifetime chance for three filmmakers to direct and produce a short film starring Hollywood legend Uma Thurman and to work closely with Kevin Spacey as both the Creative Director and Producer.

The competition is fully supported by Jameson First Shot & Trigger Street Productions and allows new talent access to Hollywood filmmaking in a creative space that was never before obtainable.

The winning films were showcased at an industry party at the YouTube Space in Los Angeles, before being released to millions of viewers on YouTube.           

The three new shorts THE MUNDANE GODDESS (writer/director: Henco J), THE GIFT (writer/director: Ivan Petukhov) and JUMP! (writer/director: Jessica Valentine) can be viewed below.

Keep an eye out for our interviews with Uma Thurman & Kevin Spacey, which will be featured in the next issue of FAULT Magazine (Issue 19).

The Mundane Goddess






The Gift


Ariana Grande and FAULT Issue 15 star Big Sean release new track, ‘Best Mistake’

So, FAULT Issue 15 Music cover star Big Sean is at it again! Check him out on this new track by 21 year old singing sensation Ariana Grande: ‘Best Mistake’.



Here’s the shot of the Detroit-born rapper with model Elle Evans in FAULT issue 15 that went viral as soon as it was published. Sean split from his girlfriend at the time, Naya Rivera, shortly afterwards…


big sean inside 3

Big Sean was shot by Steven Gomillion & Dennis Leupold (GNL Studios) and styled by April Roomet exclusively for the Music section cover of FAULT Issue 15
To get your copy of this back issue click HERE

FAULT Focus: The great Jeff Koons – and why you really shouldn’t care

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Jeff Koons employing the ‘Please ‘like’ me on Facebook/Follow me on Twitter/Join my cult!’ pose

Jeff Koons is a perverted, narcissistic genius who just won’t quit – and we love it. We can’t call his bluff and we can’t catch him out. He’s a savvy little art-hustler but, to be fair, he is also extremely consistent. In the past few months, for instance, he has collaborated with Lady Gaga, seen his Balloon Dog sell for over $58 million, launched a particularly so-so “exhibit/collection” with H&M and announced retrospectives at both the Louvre and the Pompidou next year, all whilst currently showing at the Whitney [Museum of American Art in New York]. On that basis, then, the notion of giving Jeff Koons a negative review feels futile. Is there really any point?

Jeff Koons with Lady Gaga. You're shocking - we get it!

Jeff Koons with Lady Gaga. OK, you’re shocking – we get it!

If there is one thing you can’t call Mr Koons, it’s lazy – although he does have a large factory (in both the Warholian and industrial sense) to facilitate his mass production. But the list of things he is called is almost impossible to recount. Businessman, deviant, sycophant, commodities broker, “artist”… Indeed, the latter is the most interesting for its framing within ironic punctuation. ‘Artist’ is, after all, a label loaded with its own complexities, as the collision of artist and celebrity has rendered the term to be almost an inverse signifier: the word that used to stand for someone overflowing with creative talent has come to describe one who utterly lacks it.

Warhol was among the first to fall victim to this problematic romanticizing of the role of the artist in the modern age. Something happened, or should have happened, around of the turn of the century, which allowed art to be popular and still have meaning. It’s that classic pre-teen scenario we all went through with that certain underground indie band we “discovered” who suddenly gained popularity and thus, in our eyes, lost all meaning. But ‘celebrity’ is not the antithesis of ‘integrity’. Or, at least, it shouldn’t be.

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$58million for a Balloon Dog

The late art critic Robert Hughes’ lampooning of Koons (“He has the slimy assurance, the gross patter about transcendence through art, of a blow-died Baptist selling swap acres in Florida”) stands out for its attack on the gullible collectors and art market as a whole as well as the artist. Some say Koons’ work is indicative of the fall of man, but bold, laudatory statements such as these not only feed into his mythology, but in their simplicity and accessibility are just like Koons’ work.

We’re all looking for a story that convinces us of the strength and significance of art. Pollock and Picasso were both tortured souls and, somehow, that eases our anxiety about their popularity- but Koons’ character is not dissimilar. His early work is rooted in the confusion of fantasy and reality, complicated custody battles and a messy divorce. Just as seeing the chinks in the armour of the likes of Pollock and Picasso reassure us that their mass appeal is secondary to the importance and value of their message, surely these facts about Koons should serve to quieten the retaliation against his ever-growing art empire? Let’s not forget that the young Koons emerged as a fresh-faced young artist straight from the harrowing world of Wall Street, and thus his sculptural exaggerations were always likely to speak the same language as stocks and shares. Whenever has art not reflected its maker?

Jeff Koons at the H&M Flagship Fifth Avenue Store launch event in NYC

Jeff Koons at the H&M Flagship Fifth Avenue Store launch event in NYC

To dismiss Koons purely because of his background or the financially viable medium through which he presents his work is more than fallacious. It’s juvenile. It’s the act of a 17 year old flicking his fringe and blowing a smoke ring nonchalantly in the direction of a perceived suit not being able to understand his scene. More often that not, though, the more worldly recipient of that sort of slur will take it as a compliment to his relative success. It’s a testimony to how far he’s come; how well he’s played the game since he himself last rolled his eyes in anger at a previous poseur. This is a role Koons loves to play.

In some ways, then, we can think of Koons as an applied performance artist. He lives up to that very identity that we love to hate. He has carefully constructed his persona and, be it through his business nous or public identity, he himself takes on the role of an art work through his very existence. Looking at the way our public profiles are ever-increasingly curated, evaluated, researched and dissected, surely Koons has become the epitome of contemporary society? Dismal as that sounds, Koons has made it work for him, rather than the other way around. Just by talking about his work, we have all become pawns in Koons’ game – and he is winning.

Jeff Koons, Cat on a clothes line (yellow), 1994-2001 at Gagosian Gallery

This writer remembers seeing Koons’ Cat on a Clothesline (1994-2001) as part of the Gagosian stand at Frieze last year, and one particularly opinionated young boy offered his own criticism – “This is stupid. I want to touch it”. Our love and hate for Koons succinctly distilled into the vocabulary of a child – just as Koons himself boils down issues of sex and greed to childish balloon animals and toy hearts.

In writing about Koons we are playing into his game, and propagating his myth. In the time spent reading this piece Koons’ market value has probably increased significantly. But what about its artistic value? A more appropriate question might be this: “Does it really matter any more?”


Words: Aindrea Emelife
Edit: Nick Artsruni
All images courtesy of Jeff Koons (jeffkoons.com)

FAULT Issue 16 star Nick Jonas premieres new single, ‘Chains’




Back in 2013, Nick Jonas appeared on the reversible cover of FAULT Issue 16 as part of ‘The Jonas Brothers’, but now he’s out on his own and has just premiered the music video for his single ‘Chains’.

Produced by Jason Evigan, the track crescendos from a soft intro into a full-fledged RnB ballad. Fit with a kick drum-led beat and high pitched ad-libbing, it’s clear that Nick is trying something completely different now he’s gone solo and, to his merit, it’s worked. Regardless of how the song is received (although currently all signs point to positive), one of the riskiest moves musicians can make when going solo is to steer clear of your previous musical direction and pray that your fans follow.


If this track is anything to go by, we’ll be hearing a very different Nick Jonas in the future, with the expected release of his new solo album on the way. While it has yet to be given a release date, news that it will feature a duet with Demi Lovato has already made headlines worldwide!

Nick Jonas - as featured inside FAULT Issue 16. Shot by Udo Spreitzenbarth with styling by Avo Yermagyan

Nick Jonas, as featured inside FAULT Issue 16. Shot by Udo Spreitzenbarth with styling by Avo Yermagyan.
Click here to buy a copy of this issue and have it delivered worldwide!


Let us know what you think about the track and look out for more of Nick’s recording partner, Demi Lovato, in FAULT this Fall!


#LikeforLikes – Christopher Polack’s ‘selfie’-inspired editorial for FAULT Online


swimsuit MESKITA necklace and earrings CORNELIA WEBB




top MILLY bikini MESKITA nuckle ring MAX STEINER trench KAELEN necklace LOSSELLIANI




(as above)


top MILLY bikini MESKITA nuckle ring MAX STEINER trench KAELEN necklace LOSSELLIANI


hair and makeup JOSEFINA FERNANDEZ

OneRepublic’s Ryan Tedder – first look at our exclusive Men’s section cover shoot for FAULT Issue 18


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.


Rayn Tedder for FAULT Issue 18

OneRepublic’s Ryan Tedder was shot in London by photographer Kell Mitchell and styled by Patricia Villirillo exclusively for the Men’s section cover of FAULT Issue 18
Click here to pre-order your copy of this 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.

Ryan Tedder - FAULT Magazine Issue 18 - inside shot 2 WEB

Ryan wears looks by the likes of Alexander McQueen, Givenchy and Ann Demeulemeester. Interview by Chris Purnell.

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.’


Ryan Tedder - FAULT Magazine Issue 18 - inside shot 1 WEB

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!




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

FAULT Focus: Post-LCM, we revisit the men’s fashion from ‘American Hustle’

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.

'American Hustle' costume designer Michael Wilkinson: "With Christian's character, he's projecting himself as a man of the world, someone to be trusted, someone who has exquisite taste in art and financial dealings. So what he does with his clothes is combine stripes and patterns and paisleys and dots, and he combines them in interesting, expressive ways."

American Hustle costume designer Michael Wilkinson: “With Christian’s character, he’s projecting himself as a man of the world, someone to be trusted, someone who has exquisite taste in art and financial dealings. So what he does with his clothes is combine stripes and patterns and paisleys and dots, and he combines them in interesting, expressive ways.”

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.

Don't touch the hair...or the suit - costume designer Michael Wilkinson had all of Christian Bale's velvet suits custom made for the film

‘Don’t touch the hair…or the suit’ – costume designer Michael Wilkinson had all of Christian Bale’s velvet suits custom-made for the film

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!

Bradley Cooper and Amy Adams' characters gear up for a night out at Studio 54

Bradley Cooper and Amy Adams’ characters gear up for a night out at Studio 54

FAULT Favourite photographic artist Christy Lee Rogers launches new series, ‘ÉLAN’, with June solo show in London

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.

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‘Ciel de Pluie’

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.

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‘La Promesse’

“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.

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‘Fantome du Coeur’


Private view:  Thursday 12th June ’14, 6-9PM
13th – 19th June ’14, 11AM – 7PM


The Outsiders Gallery
8 Greek Street, Soho
London W1D 4DG


Please visit www.christyrogers.com