Jared Harris: Exclusive FAULT Magazine Issue 27 interview & photoshoot

Jared Harris

“Acting… it’s playing, isn’t it? That’s what’s great about the job. If you don’t enjoy playing then why would someone enjoy watching you do it?”

Jared Harris for FAULT Magazine Issue 27

Photographer | Osvaldo Ponton
Stylist + Art Director | Chaunielle Brown
Groomer | Scott McMahan @ Kate Ryan
Set Designer | Lauren Bahr @ Kate Ryan
Photo Assistants | Nicasio Andrade + Xiangyun Chen
Fashion Assistants | Francis Harris + Ariane Velluire

A far cry from the typical, theatrical masks sputtering their pre-fabricated phrases, Jared Harris is a poised and reflective interviewee. As we banter about Brexit, Boris, and all that bullshit, there’s no suggestion that he’s keen to move things along in the direction of some scripted lines about his next role.

It’s a little surprising that he isn’t fervently plugging what promises to be another significant milestone in his storied career: the role of Absalom Breakspear in Amazon’s 2019 series ‘Carnival Row’. After all, the show reportedly has an enormous budget, stars eye-widening leads in Orlando Bloom and Cara Delevigne, and has been put together largely by his former college pal, René Echevarria. But it’s clear that Jared’s been around the block a few times. When he speaks, it’s with the assurance of someone who knows that the next role is never very far away. And it’s reassuring to get the sense that he’s treating our interview with the same sense of enjoyment as he has the rest of his career to date. It’s all part of the job, after all, so you might as well make the most of it…

FAULT: Tell us about your current project [AMC’s ‘The Terror’]

Jared Harris: The job’s great. It’s sort of special, really: the showrunner is a friend of mine from Duke University, so I’ve known him for a really long time. My younger brother’s on it as well, so I get to work with him. That’s always been a personal goal of mine.

The show itself is really well written, and that’s always the first question that one asks: how’s the script?

Jared Harris for FAULT Magazine Issue 27

There’s often a temptation to qualify actors based on a role call of who they’ve worked with – and you’ve worked with some of the biggest names in the business (Tarantino, Soderbergh, Guy Ritchie, David Fincher etc). How important is that to you? To what extent do you take jobs based on the personnel vs the project?

First of all, it’s the script. That said, when I was starting out – and I’ve kept some of those scripts – I remember reading Dracula (by Francis Ford Coppola) and thinking what a load of old tosh it was! It was almost softcore porn – there were a lot of scenes with girls in flimsy blouses getting their boobs out, and I thought to myself, “What on earth is he doing this for? It’s just dreadful!” But then, of course, you go to see the movie and you think, “wow!”

That’s when I got my first education in dealing with really great directors. You just don’t know what they’re going to do with the project. You have to assume that, with films in particular, it’s almost like a lump of clay. Not quite, because scripts are never entirely shapeless, but the great directors fully intend to reshape the material. That was true when I worked on Natural Born Killers. I read the original Tarantino script and it was completely different to the final film as it was directed by Oliver Stone. So, with films in particular, the director is almost more important than the script.

That said, it’s very difficult to improve a bad script. The shape and the structure has to be there to begin with, otherwise no-one really knows what they’re supposed to be doing. You’ve just got so many people trying to tell a story: the costume designers, the cinematographer… the script is the starting point for all of them.

Jared Harris for FAULT Magazine Issue 27

On that note, what level of influence do you – as an actor – have when it comes to interpreting the script?

It really depends. There are so many different factors at play: what type of movie it is; who’s making it – is it studio or independent; who’s directing it; the size of your role… Generally speaking, if it’s a studio film and you’re not the lead, you have very little input at all and no-one’s really interested in hearing your opinion…! They all just want to cozy up to the movie star and stay there.

That said, when I was working on Sherlock Holmes: A Game of Shadows there was total collaboration with Guy Ritchie and Robert Downey Jr. What tends to happen with that sort of film is that the screenwriter is trying to deliver a fresh product – a new take on an old story – and then, during the endless period of noting (where studio executives give notes on the script), it tends to deviate back to something incredibly familiar. Or, to be blunt, something that you’ve seen a thousand times before…

The studios’ obsession is, “when in doubt, re-state the plot.” Tell the audience what’s going to happen, what’s happening as they’re watching it develop, and then tell them what they just saw. And, of course, it’s fucking boring. So they [Ritchie and Downey Jr] tried to figure out a way of taking out as much of the exposition and plot as possible and delivering just enough so that the audience could stay ahead of the story and yet still be surprised be it: because no-one was as far ahead as Sherlock Holmes.

 

You’ve said that actors nowadays don’t have the same opportunities to rehearse as often as you used to. How do you manage to go between so many different, diverse roles so quickly and without that opportunity to really get into gear?

Well, I’ve never had that opportunity, to tell you the truth. From the beginning, I was always cast late. If you’re the main person on the movie, or the person whom the financing is lining up behind, then you know what you’re going to be doing well in advance. But with me…

George Hall, my principal at Central School of Speech and Drama, said it best, in my opinion. He told us, “You’re not going to have time. You’re going to have to learn how to sketch. You’re going to go into an audition and you’re going to be handed material with 5 minutes to figure something out. You can’t afford to be precious: you can’t do research and character study and work on a back story… you’re not going to have time to do that.” That was some of the most pertinent advice I got from that school.

Jared Harris for FAULT Magazine Issue 27

Special Thank You (Location) | Tomcats Barbershop and Renee McCarty

 

What’s your FAULT?

Oh God. Forget the magazine; you’ll have a phonebook to fill!

I’m never happy with the work that I’ve done. Someone told me once on ‘Mad Men’ that I’d just done an iconic scene, and asked me if that was the one that my character would be remembered for, and that I’d be remembered for then how would I feel about that? And I remember saying, “Can I do it again? Because I think I can do it better…”

Jared’s next project to appear on screens is The Terror for AMC which begins broadcasting right after the finale of Walking Dead. The Terror is an adventure/horror story that fictionalises the real life events surrounding the disappearance of The Franklin Expedition in the Arctic during the Winter of 1847.

 

Find out who else will appear alongside Jared Harris in the issue here

FAULT MAGAZINE ISSUE 27 – THE BEST OF BRITISH ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

Justin Prentice – exclusive shoot & interview for FAULT Magazine Issue 26

Justin Prentice exclusive shoot for FAULT Issue 26 – Click to order your copy now

13 Reasons Why has been the most talked about show on Netflix over the past year. Produced by Selena Gomez, the show follows the trail of 13 teenagers as they uncover the reasons for their friend Hannah’s suicide. Heavily influenced by the negative impact of social media, teenage bullying and sexual assault, the show brings to light an unexplored side of leisure television. Speaking to Justin Prentice who plays Bryce Walker – Hannah’s sexual abuser – FAULT uncovers whether it’s beneficial or irresponsible to expose a young audience to explicit suicide.
 

 ORDER YOUR COPY OF THE ISSUE TO SEE THE FULL SHOOT & INTERVIEW

 
What were your initial thoughts going into a show like 13 Reasons Why with such a heavy character to play?

It’s always rewarding to play such meaty characters. I was excited for the challenge. I was also thrilled to be working with Brian Yorkey, Tom McCarthy, Selena Gomez, and Anonymous Content. Each has cemented themselves as power plays in the industry, so that alone were ample reason to climb aboard the show.

 

Having Selena Gomez as Executive Producer on the show – did you have any preconceived ideas in regards to the end result and what was your overall experience of working with her?

I knew that this project was going to be special, in part because of how much it meant to Selena. She and her mother, Mandy Teefey, have been a main force in adapting this story from the Jay Asher novel. If it weren’t for the two of them, we wouldn’t have a show. I’ve had a great experience working with Selena. She is a great boss to have.

Photography: Lionel Deluy @love artists agency
Styling: Angel Terrazas
Grooming: Melissa Walsh using jack black
Special Thanks: RCNSTRCT

To say that your character is not likable would be an understatement – how did you approach playing him so accurately and were you at any point reluctant?

Yeah, Bryce isn’t the best kind of person. I was never reluctant to play the part, but I was concerned with portraying him accurately. I had many conversations with psychiatrist Dr. Rebecca Hedrick and sexual assault expert and advocate Alexis Jones. They gave me great advice on people like Bryce and were instrumental in bringing Bryce to life. I wanted Bryce to be recognizable to the viewers. We all thought it would be more powerful if audiences were able to relate Bryce to someone they knew in their own lives vs. Bryce being a sheer monster. Not to say that his acts weren’t monstrous, but he still needed to be human.

 

The show in itself holds a strong responsibility towards young people battling depression and social bullying. Did you ever feel that it might be harmful to put out a project so heavy? There have been reports of a suicide in Austria that followed 13 Reasons Why’s formula with the tapes.

Any time you have a show that unapologetically sheds light on controversial issues, there’s going to be controversy. 13 Reasons Why is often times hard to watch because it can hit so close to home, but that makes it real. It gives people an opportunity to talk about these deep issues that are so often hard to initiate conversations about. We get so many letters and so many people coming up to us in person thanking us for the show and our portrayal of the events in the show. It’s definitely helping people. I wouldn’t say they followed the formula in 13 Reasons Why. For starters, their method was different than Hannah’s. They also didn’t leave any tapes. Any blame on the show is just speculation at this point. The girls had recently watched the show, but it has been admitted that there is no conclusive evidence of any correlation. Cases like this are heartbreaking, and our hearts go out to all people who are going through similar things. We have heard from several experts that a show does not cause someone to take their own lives. Anxiety, depression, stress, etc can. Our show gives people an outlet to talk about these issues that they may be experiencing.

 

Interview by Adina Ilie

What do you think are the positives of putting a character like Bryce Walker out there?

Most people know someone similar to Bryce Walker, and if they don’t personally, there are many cases of privileged athletes who get away with rape. Bryce is real. That’s terrifying, but true. Film and Television have the wonderful roles of spotlighting problems in society. The lack of education on sex and what consent looks like create people like Bryce and create people who think they can take whatever they want. These are kids, who would, often times, never do such things if they were just given the proper guidance early on.

 

13 Reasons Why has been confirmed for a second season  – where is the story going for Bryce?

My lips are sealed [laughs]! I can say that it’s going to be great! There is more to see in all of these characters. Season two takes some interesting turns.

 

Lastly – what’s your FAULT?

I suck at time management! I’m working on it. We only have one life, that we know of, so I should spend less of it procrastinating. There are a lot of things that I hope to accomplish. All of which are going to be hard to achieve if I don’t start cracking down…

GET THE FULL SHOOT AND INTERVIEW EXCLUSIVELY IN FAULT ISSUE 26 – AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

ANNINA ROESCHEISEN : A MULTIMEDIA ARTIST TO WATCH

What are you fishing for - videoart Annina Roescheisen  2014

Credit to Annina Roescheisen

Annina Roescheisen is a half German half Slovenian multimedia artist based in Paris since 2009 ; she is specialized in Medieval art and she used to work for a little while for Sotheby’s in Munich before being full time dedicated to photography, films, sculptures, drawings, writings and human causes, especially to children. I met her last Saturday at her Parisian studio in 17th arrondissement and we naturally started talking about our common friend and visual artist Fawad Khan who used to sublet his Brooklyn apartment to her when she visited the big apple for work from times to times… At the moment, she is living between Paris and NYC ; NYC is the place where she is creating and writing whereas Paris is where she produces her artwork.  She is exhibiting her last video piece “What are you fishing for?” at the 56th International Venice Biennale in a few days and she is very excited about it : “It will be my first time attending the official opening as a featured artist so I will be going with the flow, it’s a big step for me! I hope I will be meeting up there with some friends : Xavier Veilhan and his studio team, some NY friends and my friend the galerist Imane Fares. I still don’t realize I am part of this international exhibition. It’s completely surrealistic…”. She added : “Having good supportive friends is very important when you enroll yourself in an artistic venture as you can easily feel lonely… It is essential to open yourself to what life is for real, accept failures and be patient, and of course, stop judging and labelling as good and bad things which are around you.” If you closely look at her website, you will notice she has a tab entitled “HUMANITY” where she features all of her actions towards human causes. She was recently selected by a French charity, L’Assiette Gourm’Hand, to take part in the jury process, under the patronage of the President of the Republic François Hollande, of a food experience designed by several groups of developmentally disabled people alongside big French Chefs next November. This human creature is a bottomless pit of generosity and creativity ; it is hauntingly beautiful. At the end of our talk from German painters to autism, she invited me to watch her selected video for the Venice Biennale in a darker and smaller space. The setting was perfect ; she built a TV frame made of birchwood to add a little something to her eight-minute narrative story. The music created by The Shoes’s band member Benjamin Lebeau as a background noise fits it so well. It helps you plunge in the water with this young pale girl all in white -played by the artist herself-, clean yourself from fears and thoughts and make peace with all around you for a bit. It feels so good to be stranded in the present time at this space full of good vibrations and energy. When going back to the main space, she handed me a little rainbow-colored book entitled LILLIE recommending me to read it on the train whenever I feel like it (Of course I read it right after leaving her). LILLIE is her first published book and I believe she is telling her own story through a little girl who is searching for peace of mind, facing both interior and exterior barriers… Welcome home, Annina! And thank you for being true to yourself.

Meet the Wilders

75e343_a62a2b49c83aa851e8c9dcf153238ee0.jpg_srz_785_505_75_22_0.50_1.20_0.00_jpg_srz

Credit to Neil Wilder + Tanja Wilder-Roos

 

The creative Brooklyn-based pair Neil + Tanja want their art works to make people smile; and they hope they help them think about what is important in life. They do fashion and advertising. They do portraits too. Vivienne Westwood, Clint Eastwood, Tim Burton, JK Rowling, Yoko Ono, Beth Ditto, Arctic Monkeys, Adrien Brody, Adele, Scarlett Johansson… The list of celebrities they already shot goes on and on… What else? They like brie cheese, the orange colour and Ozzy Osbourne ; and today they are enrolling their kids and friends in a new venture. Au menu : animation, illustration, video and conceptual art direction. The Bushwick chocolate factory Fine & Raw whose mission is to save the world through silliness and chocolate is among their best clients. You can find more info about how their hypnotic + childish world looks like by visiting their website. Anything is possible inawilderworld

 

 

Simon Helberg & Jocelyn Towne interviewed for FAULT Magazine Online

 

well_never_have_paris

We’ll Never Have Paris is a surprising, honest and enjoyable romantic comedy, with an all-star cast, dark subtle humour, great physical bits, and lots of cringe moments to have you peeking at the screen through your fingers. It is surprising as it’s made by the guy most people know as, ‘the guy from the Big Bang Theory,’ and even more surprising as it is as far away from the broad gags fans of the popular sitcom love. Simon Helberg and wife Jocelyn Towne co-directed the movie penned by Simon about the time before they got married and after they broke up. In it, Simon gives a strong, heart-felt performance, which left me wondering if it was the same guy from that show on E4.

 

I was tenth in line at the press-junket set up during Simon’s and Jocelyn’s breakfast. They seemed to be on autopilot at first, so I let them continue…

 

Simon: The movie is based on our real life break up before I proposed. It’s a disastrous and clumsy break up, followed by an even more embarrassingly horrific proposal, but at its core it’s about a quarter-life crisis.

Jocelyn: The next question is, what was it like working together, since you’re both directing the film.

Fault: Go ahead, this is great.

Simon: Thank you.

Jocelyn: It was challenging working together and also a great experience. We developed a shorthand during pre-production of what we were looking for and then when we got on set we went about trying to execute that. It wasn’t always the smoothest sailing, but we got better and better at communicating and working together.

 

Fault: Not the smoothest sailing, cause ‘someone’ is a diva?

Jocelyn: He’s so demanding.

Simon: I had a Bentley take me to work every day.

10958047_820331981393572_6830882201630613577_n 

Fault: I’ve found that working together and living together can be a nightmare.

Jocelyn: We’re both really passionate and obsessive about our work so while it is a little bit complicated to take it home every night, as it shoves parts of the relationship out the window, it worked out really well. We were able to turn to each other at the end of each day and discuss the same thing, and I think it helped make the film better because we were able to keep discussing it at all hours.

 

Fault: Simon, who did you complain to when you got home at night?

Simon: Well I made the mistake of complaining to Jocelyn about herself. I told her that the director is driving me crazy!

Jocelyn: It was the most stressful thing we’ve ever done.

Simon: We lived in a little bubble, just the two of us, unfortunately reliving a lot of those tragic mistakes that I had made in the past. I don’t know if it was therapeutic or just pure…

Jocelyn: Narcissistic.

 

Fault: Simon, as opposed to being a part of an ensemble cast like with the Big Bang Theory, you are a writer of this film, the co-director, this is you, this is your story. Did that add to the pressure of making the film?

Simon: It feels like it is mostly on my shoulders, which is hard. I had nobody else to blame if a joke didn’t work, if the craft service was bad, if the lighting got messed up, I felt essentially it’s all me. Of course Jocelyn and I were collaborating, but I definitely felt like, ‘oh my god, I’ve brought everybody here to tell this story about a very self-indulgent time in my life and in some ways and here I am indulging in it again.’ But I think the terror of being vulnerable and honest and depicting myself in what wasn’t the best light or, weren’t the best times of my life, was something that excited me, and scared me.

 

Fault: Simon, you are from a very successful long running show. One would assume that you could just do that character forever and make a lot of money doing it.

Simon: I could just do that, but my interest goes beyond playing one character or doing one kind of thing.

Jocelyn: There’s always going to be something else that you want to do. Art is sort of this black hole. It’s insatiable because you do one thing, and you think that’s the one thing I always wanted to do, and then there’s a new desire that pops up from that.

Simon: I think it’s an easy defence mechanism to just stay with the one thing and keep yourself safe. It’s very scary to put yourself out there in any way at all, whether it’s walking up to somebody and saying hello, or making a movie, or confronting whatever it may be. When you’re in any vulnerable situation I think it’s easy to shut down or get angry and say, ‘I don’t really care anyway,’ and I do a lot of that. I’m trying more to enjoy this part of it because it’s rare. I’m getting to watch our movie in a theatre with people, and it’s…

Jocelyn: Really cool.

Simon: Really. I try to hold on to that moment, and not for validation or praise, but because nothing is more honest that a collective group of people experiencing something together and having a visceral reaction sitting in a room. It tells us all that we need to know.

 

10341963_803634489710470_2651349998000053621_n

 

Fault: Can the show be limiting?

Simon: The show can be limiting. I don’t think that’s taboo to say. I don’t even mean it negatively. I’m playing one character and even though it’s gotten this incredible long run and will continue to run, hopefully, and you’ll get to see more colours of this guy, it’s still one character so it’s as limiting. It’s a hot button topic. ‘Do you get to pigeon holed?’ ‘Is it limiting?’ I think about those things too. Do I get to…

Jocelyn: Will people always see me in one way?

Simon: ‘…I’d love to play other parts, but do they see me only as that guy?’ It’s something that is scary. I understand it too, because I’ve seen certain people say things, and they clearly have a hard time separating me from the show, and I’m guilty of the same prejudice in a lot of ways. There’s a lot of people who do one thing, or are known for one thing, and then I see them do something else and my immediate knee jerk reaction is, ‘WOW!’ and I didn’t realise that I had limited the person in my own head.

 

Words: Chris Purnell 

FAULT Issue 20 – The Faces Issue – is now available to pre-order

 

We are pleased to announce that FAULT Issue 20 – The Faces Issue – is available to pre-order NOW.

Official release: 20/03/15

FAULT Issue 20 front cover star Kylie Kenner was shot by Lionel Deluy and styled by Monica Rose.
Issue 20 will also feature Jim Sturgess as its reversible cover star – with preview imagery set to be unveiled very soon!
Click here to pre-order your copy of this issue!

 —

FAULT Magazine – the Faces Issue – proudly presents exclusive shoots and interviews with:

Kylie Jenner

Jim Sturgess

Iwan Rheon

Michelle Monaghan

Audrey Kitching

To celebrate a landmark edition, FAULT Issue 20 includes very special ‘Faces of FAULT’ section, showcasing some Behind the Scenes insight from a selection of our favourite features from our 19 issues so far, including the likes of:

Rupert Grint (Issue 5)

Tom Felton (Issue 8)

Ali Lohan (Issue 9)

Adam Lambert (Issue 10)

Kelly Osbourne, Shay Mitchell, Logan Lerman, 2NE1 (Issue 12)

 Richard Armitage & Billy Bob Thornton (Issue 13)

Zach Braff & Daisy Lowe (Issue 14)

Ben Barnes, Big Sean, Tyra Banks, Ellie Goulding (Issue 15)

The Jonas Brothers (Issue 16)

Little Mix (Issue 17)

Demi Lovato, Usher, Debby Ryan (Issue 19)

Plus our usual, FAULTless selection of the finest editorial and feature content from both sides of the Atlantic and beyond – featuring some of the most internationally recognisable Faces in the world today.

This is your FAULT

FAULT MAGAZINE ISSUE 20 – The Faces Issue – IS AVAILABLE TO PRE-ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

FAULT Focus: Differio.com founder Jimmy Chrabieh introduces the unique online menswear retailer

Jimmy Chrabieh, founder and CEO of Differio.com

Jimmy Chrabieh, founder and CEO of Differio.com

FAULT: Differio.com introduces itself with a big claim: that you are different to all other online men’s fashion outlets. What exactly is it that sets you apart from similar websites?

Jimmy: We don’t sell clothing. We sell a feeling. Because we believe it’s not what you buy that’s important, it’s what you feel after you have bought it. We see our pages as an ongoing fashion show that feature live models embracing original designer creations from their latest collections. We showcase clothing and accessories that are unique, yet affordable, to our customers.

This dedication to originality doesn’t stop with the product. Have a look at www.differio.com and you will see it is clear this isn’t your stereotypical e-commerce company. All of the models’ pictures are created against a background of music. With a new style of photography and its own unique look, the website resembles no other out there. It’s daring, edgy and bold, featuring original clothing, but the flow is still easy to navigate. No bombarding sales promotions, no womenswear, no kidswear. It is simple, yet different. We stay away from all other online men’s outlets. In fact, we have no interest in what others are doing, instead, we are looking to make a new path all our own.

IMG_5349

You provide men with a unique perspective on fashion by offering them products by independent designers. Can you tell us a bit about that process – how you select the designers and how you persuade them that Differio is the best place to sell their designs online?

Because we don’t believe the world needs another retailer, Differio aims to be both magical and meaningful; inspiring our customers by being different. It is about getting to know yourself and finding that source of expression. It’s about being connected with the very essence of who YOU are and being confident about it.

We try to look for designers with liberal creative identities, designers without limitations. Creativity has no borders, and our team has traveled the 7 continents on the lookout for creative designers, new ideas and original fashion expressions.

Originality is our core ideology and defines the character of our organization and what we stand for. Talented designers have a reputation for eccentricity and originality, so they go hand in hand with our company. The designers we carry share with us the same values, and we offer them a unique platform to reach the target they are looking for, a top-notched palette to portray their creation in a more appealing way.

In the beginning, we got some rejection letters from brands who did not understand our vision or who wanted to impose their vision upon us. But we stayed strong and true. Our core essence will never change; originality and liberal expression is Differio’s soul. Today we receive plenty of requests from designers, both independent and renowned brands, which would like us to feature their products on our website. Unfortunately, we cannot carry them all and, while we maintain close ties with everyone who has approached us, we try to select only the crème de la crème of each season when it comes to our website.

Describe your ideal customer – to what type of person is Differio meant to appeal?

Our designs are for the man of today; he who is an explorer, sophisticated, and unafraid to create his own personal style. We want to appeal to the bold and courageous trendsetters, those whose experiments with style go far beyond everyday fashion dynamics.

IMG_0350

How do you reconcile your key selling point of offering a unique selection of styles (independent designers) with your decision to also stock major labels alongside them?

While we promote independent designers’ work, we still carry major brand labels on our website like that of French Connection, Staff Jeans, Jetlag USA, MC2 St Barth, Gregg Homme and more… Our clothing stock model consists of selecting the best designs out there, whether from unknown designers or mainstream, we are always seeking unique creations. We don’t carry the full lines of the brands we have, we only select what we feel our target might be interested in. While other websites focus on the choice as a key business driver, we focus on emotions. Our customers are unique; therefore they look for unique clothing.

You clearly take your philosophy of supporting independent and emerging designers very seriously. Can you recommend us two up-and-coming designers – one from your site and one whose designs you’d like to be selling but aren’t right now – to look out for over the course of 2015?

That’s a tough one. We carry a lot of independent designers and it is really hard to recommend one over the other. I will give my personal choice here: designer James Calehan from LA did a great job this season, a great collection of trousers, cardigans, beautiful shirts boasting bespoke prints, luxury fabrics, fine-fitting cuts and unmistakable detailing. My other favorite is a denim brand called The Hot Child Junk Jeans by Florida designer Octavio Silva, who introduced a new line of jeans specifically designed with a man’s “anatomy” in mind. Both designers’ creations are sold online exclusively at Differio.

When it comes to who I would like to see on our website, I have my eye on many! What crosses my mind at this moment is the Bulgarian brand Demobaza from designers Demo and Tono. I think they’ve done a very good job by creating a new style of deconstructive uniforms.

IMG_0806

Judging from some customer feedback we’ve read, a few of your customers obviously set great stock by the fact that you are based in the USA – Manhattan, NY, to be exact! Is that something that you also feel is important and, if so, why?

New York is undoubtedly the fashion capital of the world (according to the Global Language Monitor ranking 2014). New York is a great hub of inspiration, it has thousands of showrooms at your fingertips, the world’s renowned fashion universities like Parsons and FIT, and of course, a great infrastructure for technology and importing and exporting.

However, only a few e-commerce fashion companies are based here; many are situated in London, Italy, Stockholm etc… Even stateside, large retailers often choose other locales including California and even Ohio. While this may be good for a company’s bottom line, for some, it may result in being removed from the epicenter of the fashion world. For those of us at Differio.com, we know that to be a trendsetter, one must exist where trends are created. We wanted to bring a unique and decidedly ‘New York approach’ to menswear out of our Manhattan offices.

You only started Differio last year but what would you say has been your greatest achievement/proudest moment so far since your launch?

There was more than one moment where we felt proud of what we did, from famous celebrities buying our clothing to the thousands of beautiful words we received on social media and in emails. I have to say, though, that selling out of certain items from the first day of launch – that made me forget about the year of hard work and endless preparations. It was a big sign for me that Differio is set to make a difference in the world of fashion!

Where do you see the company in a year’s time?

The Journey is what brings us happiness, not the destination. In the meantime, we would like to create maximum awareness and introduce Differio to every fashion seeker in the world. We want to strengthen our image as a unique portal and aim to improve customers’ opinions of our organization significantly within the next year.

IMG_9108-Edit

And what about 5 years’ time?

To be the leading menswear fashion inspiration, saving the world from boring stereotypes!

Who or what are your personal fashion inspirations?

Dolce & Gabbana – the suits from their summer 2015 collection were brilliant.

Vivienne Westwood – I love how she brought modern punk and new wave fashion into the mainstream

Last but not least, my everyday encounters with people I see walking in Soho, the Village, even Williamsburg. Charismatic people draw attention, they automatically energize you and motivate you to step up and be inspired.

What is your FAULT?

I can’t stand fashion faux pas.

For more information visit www.differio.com

differio

FAULT Focus: Screenwriter and novelist Kelly Oxford for FAULT Issue 19

Kelly Oxford inside 1

Kelly Oxford was shot at her LA office by Brian Ziff. Interview by Chris Purnell.
Click here to order your copy of this issue!

Most of us had heard of her back around 2010 when the number of followers one had became a big deal. Twitter personalities where starting to break into the mainstream, and she was one of the first. But we didn’t know her name. We were told that she was the Canadian housewife with a million Twitter followers who parleyed that into a screenwriting career, had a glamorous life in LA and pissed off a million writers that wondered how she got so lucky.

But the truth was less sensational. It involved hard work, practice and years of writing for little to no money. It wasn’t the American dream I had imagined. Or even cared to.

Now Kelly Oxford is famous, despite what she tells us. She is a New York Times bestselling author, she has a TV deal, a movie deal, she gets to talk to FAULT, and still finds time to annoy the Kardashians and their legions on Twitter: “If you can name 5 Kardashians but can’t name 5 countries in Asia, stick a knife in an electrical socket.”

Kelly Oxford inside 2

Get the full shoot and interview – only in FAULT Issue 19.
Click here to order your copy for delivery worldwide!

FAULT: Do you know how the story of you coming out of nowhere came about?

Kelly: The first time I got picked up by the media was a charity event in Los Angeles called ‘Night of 140 Tweets’ at the very beginning of 2010. That was a celebrity event where people would read a Tweet was to raise money for disaster relief in Haiti. I was the only one out of 140 people that wasn’t a celebrity. I was just a writer from Canada. I was a housewife. I was somebody who nobody really knew and I was only invited because people that were involved with this – actors and writers – liked me on Twitter and thought, “if we put her on this it’ll make sense because she’s very popular on Twitter and this is a night of tweeting.” All of a sudden I was part of a group of people when I really wasn’t one of them.

How did it [really] begin for you?

If I had been born in the United States, I’m 100% sure that when I graduated high school I would have moved to Los Angeles and started a normal writing career by becoming an assistant and working my way up the ranks. But I was Canadian. That sort of thing wasn’t an option for me. I could have moved down here and done all that stuff, lots of Canadians have, but I wasn’t ambitious about getting a career. I’d rather have a family and stay at home and pursue my passion. So I just did what I did, which was to just take some writing classes and write things on my Geocity page and just wonder if anybody would read it.

FAULT MAGAZINE ISSUE 19 – The Millions Issue – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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