FAULT Magazine attends James Bay X TOPMAN Launch Party

The fashion and music industries have always shared a close bond with artists such as Kanye West, Justin Timberlake and Tinie Tempah making genuine waves and turning heads within the fashion world. Today we’ve been blessed with a new collaborative capsule collection from Brit Award-winning artist James Bay and Topman.


Last night we attended the official launch party at London’s Ace Hotel to get a closer look at the 13-piece line and to see the man behind the collection.

The collection is personal and the pieces are all items which we can imagine James Bay would wear himself as opposed to the old ‘Slap a famous name on a predesigned collection’ which we’ve seen so much of from other brands in the past. As with many things, the true beauty of this collection is in the details; the effort put into the meticulous embroidery, addition of personal lyrics, intrinsic patterns truly show and elevate the collection above the norm.

FAULT Magazine alumni were out in full force last night with Ella Eyre, Vanessa White and Becca Dudley all showing up to give their support.  Sipping Patrón Tequila, including Patrónics, Patron Margaritas on the rooftop bar the space was completely decked out like we were on the set of the lookbook shoot – guitars and all!

A wonderful evening of fashion, friends and music – we’re looking forward to seeing what other exciting strides Topman can continue to make!

Saint Laurent releases Winter 17 #YSL11 Fashion Films


The latest instalment of Anthony Vaccarello’s Saint Laurent fashion film series has released, and it’s the perfect transition from runway to the movie format. Directed by Nathalie Canguilhem, the badassery of the collection truly shines under the neon lights of the city night.

Anyway, less talking more gawking, check out the full video below.

Director: Nathalie Canguilhem
Music: “Kane” by SebastiAn
Models: Binx Walton, David Friend, Dalibor Urosevic, Hiandra Martinez, Louis Marzin, Mica Arganaraz”


“The past is a country anyone can visit!” Charles Jeffrey exclaimed over the clamouring applause for his SS18 collection. This was this season’s motto; a message of inclusivity, coming at a time when it is much needed.

The clothes didn’t seem to belong to any time in particular, unless the ‘past’ Jeffrey was referencing was his own. There is a childhood playfulness which runs through his clothing; colourful scribbles ran from the clothes across the models’ bare skin, and bright illustrations in primary colours covered t-shirts, skirts and suits. The execution, however, shows no such childlike naivety. A later chance to play with the clothes close-up revealed expert tailoring helped along by the designer’s close friend, expert seamstress Sybil Rouge. Bomber jacket shapes were extended into long coats with delicate ruching across the back and tiny buttons dotting the front, and a pin striped suit was executed in a thick heavy fabric that only the nimblest of tailors could manipulate.

Jeffrey’s send up of the current political climate did not escape his slogan tees. White t-shirts emblazoned with falsified newspaper covers screamed headlines such as ‘CHILDREN HIGH ON DRINK AND DRUGS’ and zeitgeist-hitting key words like ‘TERROR’ peeped out from under psychedelic cardigans. The audience was reminded that although fashion is frivolous and fun, it’s not the only thing going on in the world; Charles Jeffrey is inviting everyone to work together to help.

Words: Harriet May de Vere


SS18 was the debut collection for South Korean menswear brand D.GNAK. With the designers trademark being the fusion of traditional Korean menswear and western tailoring, this season showed the introduction of new colour and detail. The inspiration came from the concept of ‘inevitable interaction’, with the clothes made suitable for our hyper connected society. Classic Korean silhouettes, resembled by distinct folding and necklines, were blended with suit jackets and leather shorts, held together by the continual use of thick contrasting trims, buttons and silver buckles. Mustard drawstring trousers were worn with long matching zip-lined jackets; while beige sweatshirts were detailed with write rope. Accents of red ran through the collection, perhaps to represent the colour of the national flag, and Korean wording was inked in black on the models foreheads, a graphic reminder to not loose your sense of culture. Inclusively D.GNAK cleverly formed a collection that mixed traditional Korean fashion with the modern influence of western dressing, diverse enough for the streets of London Tokyo, New York or Seoul.

Words: Sarah Barnes 


The Katie Eary SS18 collection was an eclectic collaboration with brands BOY London and Spliffy, all pioneers in the history of British street fashion. This season took us back to the cloth obsessed youths who valued utilitarianism, accessibility and design. Models strutted to vibrating beats wearing pieces that were lux yet had a rough edge and showcased both sexuality and humor. Washed denim jeans from Spliffy were worn low to revel silky boxers, while trackies were reinvented with mesh and netting and paired with oversized parkas, equip with bungey cord belts. Neon colouring was a standout trend with tank tops and macs ranging from emerald greens to electric blues. BOY London logoed silk jumpers and printed hoodies that were worn with rucksacks and vibrant trainers. Eary’s patterns were inspired by the world underneath us and above us, the prominent prints of creepy crawlies covered high cut swimming costumes and flight jackets. The models even looked through bug-eyed masks and astronaut like helmets, proving that two worlds not dominated by humans could dominate the designs that humored our adolescent nostalgia.

Words: Sarah Barnes 


Backstage at Katie Eary SS18 photographed exclusively for FAULT by Chidubem/Lost in Talent


Taking on this savage world, the KTZ SS18 show had themes of ‘Lord of the Flies’ running through its seams. The cast walked down the runway in utilitarian-inspired street wear with unexpected silhouettes, clad in cargo pants, parkas and even a rebellious cover-up, which may have resembled a poncho.For a military-esque look, the khaki, black and silver tones gave it that dystopian feel, and this was felt more with the military badges and outerwear emblazoned with ‘EXTREME NOISE’ and ‘THIS IS REALITY’.


Detailing was well thought out in this collection again reflecting the post-apocalyptic inspiration – knitwear looked partially destroyed with spider-web-like holes, shoe laces were swapped out for cable ties, hems and seams were held together by harsh metal staples and soda can pulls were made into shirts and draped down from baseball caps. In chainmail realness, the models looked like a force to be reckoned with, as if they were about to march into a war with power, instinct and survival being key.


Words: Lizzie Griffin


Strongly influenced by the 70’s, 80’s and the adventurous riders of the Paris Dakar Rally, Belstaff’s SS18 collection was a mirage of luxurious fabrics, bold prints and functional designs. Inspired by the romantic landscape of North Africa, the colour palette resembled sun bleached pastels, bold coppers and burnt oranges. These tones were complimented by 70’s sage greens and 80’s contrasting yellows and blues. The models stood and sat soaked in Belstaff’s heritage denim. Tailored jeans and denim shirts were presented with patchwork details, while a strong sportswear element shone through with oversized Moto jackets. Leather, made for the summer, came burnished in texture and in the form of bombers and biker jackets, refreshed with embroidered Phoenix logos and perforated details, adding a vintage feel. Graphic prints also adorned skirts and knitwear tops, a mix of mosaic and python designs and motorcycle racing stripes resembled the sportswear sponsorships from heyday advertising. Models held suede rucksacks and looked out through structured eyewear, epitomising accessories for urban living. The collection in its entirety focused on lightweight and technical designs such a laser cutting and waterproof nylons to create outerwear suitable for ranging climates and terrains- cleverly fusing decoration and technicality, all through a sepia coloured filter.

Words: Sarah Barnes