Jacket – H&M / Crop Top – BooHoo / Skirt – Topshop

She’s been called the ‘Skinhead Soul Princess’, and the Guardian has mentioned her as one of the Future 50 rising stars to watch of 2017. Miss Etta Bond – hailing from London – is known and loved for her soulful vocals, self empowerment and visual creativity. Set to release her new solo EP since Emergency Room with Raf Riley, we chat to Etta to find out what she’s been working on.

Etta! Have you had a good day?

Yeah Yeah, (laughs) I’ve had a good day, I’ve not done much, been abit lazy so its been a chilled one for me.

Oh that’s good.

But to be honest I was getting ready to go to the gym before you called, so once I get off the phone, I’m gonna get a little work out in I think.

You’re too good haha. I keep putting it off to the next day, and then it gets to the end of the day and I can’t even be bothered (laughs)

Ah! it’s so easy to do that isnt it? I’ve been meaning to go to the gym all day but i keep making excuses like “oh, i’ll get ready soon” (Laughs) and then finally getting ready now and I thought, “Fuck it i’ll just wait” (laughs) I’ll go eventually!

Dress – Samsoe & Samsoe


(Laughs) So! We’ve not heard anything solo wise from you in a while, can you tell us anything about your new EP?

I don’t want to say too much about the EP. It’s about to start revealing itself with the release of ‘Kiss My

Girlfriend’. Chris Loco and I have been working very closely on this project for some time now. I’m so

excited to share it!

You mentioned the EP was with Chris Loco, the last was with Raf Riley – what are the similarities and differences of working with them both?

That’s like asking me to compare two lovers… The similarity is that making music in the presence of either

of them feels very natural to me, there’s a spark. I love them both.

So you’ve got some live gigs coming up, what can we expect from your set?

I’m planning a headline show which is going to be really special. I also have my set at The Secret Garden

Party coming up. I’ve never been before so that’s exciting.

Top – Fila / Trouser – Etta’s own / Boots – Dr Martens

Your new single Kiss My Girlfriend is out today! Who was it inspired by and what was the message

behind the song?

My friend, Jenay, who’s actually standing next to me in the video – she inspired the song. It’s about the

special and unique relationship that exists between women. It’s a reminder for women (myself included)

that men will do and say just about anything to get a piece. We’ve gotta look out for each other, it’s a

beautiful thing when we do.

How involved were you in the direction of the video?

The video was directed by Sophie Jones. We worked very closely together on the concept and

casting. We’ve already started discussing our next creative collaboration!

What was it like working with her?

Second nature! We’ve been friends for years now so it was a really organic process. With support from her,

Zateesha Barbour on hair, Daisy Deane on styling, Grace Vee on makeup, all of their wonderful assistants

and each and every one of the girls that took part – it was a wonderful experience that I’ll never forget. A

day that brought the song and its meaning to life.

Where do you see yourself in one year’s time?

I never tend to think like that, I just end up where I end up. It’s where I’m supposed to be, you know?

Wherever I am, I just hope the music that’s coming has reached the people it’s meant for.

Lastly, what is your fault?


Cape – Felder Felder


Words and Photography: Ashleigh Nayomi

Styling: Edith Walker Millwood

HTGAWM’s Jack Falahee discusses lessons learnt from the LGBTQ community in FAULT Issue 25


Photography by Joseph Sinclair
Styling by Angel Terrazas
Grooming by Mishelle Parry at Celestine Agency

Jack Falahee ‘Playing Connor | Finding Jack’

Words: Miles Holder

How To Get Away With Murder first appeared on our screens in 2014 and is to this day one of America’s most progressive and expertly written television dramas. Oscar award winning actress, Viola Davis stars as the powerful, female, African-American lawyer without a defined sexuality nor reason to explain one. As an African American female actress, she will no-doubt have faced similar prejudices to that of the character she plays; however the same can not be said for the whole cast. Enter, Jack Falahee. Despite years of training at prestigious acting schools, it was the role of a homosexual college student, Connor Walsh that would provide Jack with a clear and untilfiltered glimpse into the LGBTQ community. It’s a credit to Jack’s skills as an actor, that Connor’s character and his sometimes turbulent relationship with his HIV-positive boyfriend have created strong discussions within and outside of the LGBTQ community. With that in mind, I sat down with Jack to find out what the character that means so much to so many different people – means to him.

You’ve got an impressive resume – you’ve studied so many different acting methods, what is it about television and the screen that mean you’ve gone down that route?

When I was at NYU I was originally admitted to study musical theatre but when I started hanging out with kids who had grown up with ballet classes and vocal coaches, I quickly realised I was a bit out of my depths. If I felt that way in a class of forty students, then going to an open audition for a broadway show was going to be a nightmare; and it was and I was cut very quickly.

I went to Amsterdam and studied the experimental theatre and then Shakespeare in the States but when I got into television acting, I was really inspired by the technical side of it. I grew up enjoying movies but when I started studying it I became aware of angles, what “the shot” was and just everything that is done to make a screenplay come to life. That really fascinated me and will likely lead to me producing and directing in my future.

What period of Connor’s character resonated with you the most?

Fundamentally he and I are very competitive and also very jealous people – it’s something which I’m personally working on but I don’t think Connor is! I grew up with 3 siblings and 2 brothers who are all wildly brilliant and whilst it was a house full of love, it was also incredibly competitive so I definitely relate to Connor in that way.

When you first got the role, did you think the show would have such an impact?

Frankly, you’re not thinking about that when you’re a struggling actor; you’re thinking about getting a job so you can pay rent and survive so I never really sat down and considered I’d be spending years of my life on the project.

I’m still not over how the much of an impact the show has made and a lot of that is Connor’s character and his importance to fans. It’s emblematic of my straight privilege, but I never thought his character would be so important to the LGBTQ community. When the finale came out and Oliver proposed to Connor, seeing the Twitter reaction was so overwhelming and I was just overjoyed at how meaningful the character is to people.

What are the best lessons you’ve learnt from your fans?

100% opening my eyes to the LGBTQ struggle and I can’t stress that enough. Going into this, it was never written on the page that “Connor Walsh is a homosexual”; so when it came to the first love scene I just thought, “wow this guy is willing to do whatever it takes to get ahead” and now I know that was the heteronormativity in my mind back then that was rationalising this whole aspect of his character. It wasn’t until Pete Nowalk was like “oh no, Connor is gay” that I’ve been really trying to become a student of the history of LGBTQ rights and learning more about the struggle of those in the past and in the present day.  I asked Pete and my friends for a reading list on LGBTQ history because one of my favourite aspects about being an actor is that I’m continually having to learn about things I’ve been very uneducated on in the past. I’ve grown up with friends and family who aren’t straight white males so it was important for me  to do Connor’s character justice. The outpouring of love from the fans was so gratifying and humbling for me. Receiving messages from fans saying “Connor & Oliver helped me come out to my parents” is deeply rewarding and to be any small part of the courage needed to come out will forever be a blessing to me.

Are you comfortable with your sex symbol status?

No! Well, it depends [laughs]. I go back and forth on this, on one hand, it’s a great boost to my confidence but on the other hand, it’s a very vulnerable thing to be. Women live their lives being objectified and reduced to just their bodies every day and it is awful so I’ve been discussing it with the women close to me. I obviously can never understand how women can go through life that way but I can see a glimpse of what that experience might feel like and it’s not a nice one.

Nine times out of ten, it’s all good fun and nice things are being said but that 10% of the time when people disregard my space or my wellbeing is not okay. People tell me “that’s what you signed up for” and I really don’t think it is! I was this chubby, awkward kid and now I’m a sex symbol with the help of great makeup and lighting experts making me look a certain way on tv and magazines.

What is FAULT?

I think that there is a part of me which is always seeking validation which is very informative of why I’ve become an actor; regardless of what might happen, I think I’ll always be seeking approval.

Read Jack’s full interview and see more exclusive photographs only in FAULT’s Special #25


Preview: Camila Cabello on the cover of FAULT Magazine Issue 25

Photography: Giuliano Bekor | Styling: Cat Wennekamp | Hair: Marcus Francis | Makeup: Allan Avendano | Nail Tec: Kim Truong

Despite still being very much within its infancy, Camila Cabello‘s solo career has already been rather unfairly mired in rumours surrounding her choice to split from her former girl group, ‘Fifth Harmony’. From the day Camila announced her departure, wild speculation and venomous allegations flew through the airwaves with no comment of ill from either party; seemingly the narrative of five bickering women proved more newsworthy than that of them respecting each other’s career choices. Nevertheless, Camila moves graciously through the attempted adumbration of negativity into the spotlight and onto our issue cover. With an AMA, VMA and countless other awards under her belt as part of Fifth Harmony and seldom mentioned co-writing credits for acclaimed artists Machine Gun Kelly and Shawn Mendes respectively, the sky is the limit for Camila Cabello. With that in mind, we sat down to find out more about the pressures and pleasures of going it alone.

Words: Miles Holder


Hi Camila, what’s been the scariest part of transitioning to a solo artist?

I think the scariest part about it is leaving a successful project to pursue a new dream with a path full of questions of self-discovery that only you can answer. But even when I feel so grateful for the opportunity to be a part of my former group, expressing myself as an artist became a necessity.


Do you feel a lot of pressure to have to get everything perfect?

I’ve always felt pressure to get everything perfect, and I’ve never gotten there, but I think that’s what keeps me growing, and keeps me frustrated with myself and keeps me reaching. I think if you’re ever comfortable and think “wow. This is it. I’ve figured it out.” , you stop trying and you stop growing.

What should fans expect to hear from your new music?

They are going to feel who I am. They are going to get a chunk of my heart, my experiences, my fantasies and everything in between.


What do you have lined up musically for 2017?

We’ll be touring worldwide for the rest of the year.


If you could describe the sound in 3 words, what would it be?

I couldn’t possibly boil it all down to three words but it will be me in sound form.

It feels like you’ve been working non-stop for the past 5 year, where did you find the time to prepare for your solo career in that time?

I was always writing, not necessarily for myself, but just because I really wanted to be a songwriter. I think as I was writing I found my own voice as an artist and as a person, and I’m discovering more about it every day.


What’s been the best part of the solo journey so far?

Working with so many talented writers and producers and following my own musical vision. I love the ability to create something out of nothing altogether.


You’re a young artist and it’s a very tough industry, where is your happy place when it all becomes too much?

My family and movies.

If you could give any advice to you younger self, what would it be?

Everything has to happen the way it’s going to happen so that other things can occur. And also, don’t be so hard on yourself.


There’s a lot of pressure on young artists (female performers especially) to be forced by the media to act a certain way or become bullied into dressing a certain way. What’s something you would never apologise for?

I think it’s important to make your own decisions about what feels right to you and follow your inner voice. Never compromise if it doesn’t feel right.


What’s the best advice you’ve ever been given?

Everything is temporary and life has seasons of its own. Just like flowers don’t bloom all the time, there are moments of sadness and happiness, struggle and joy, and being human means feeling all of it, even in the bad times, so that you’re that much more grateful for the good times when they come.


What are your plans for the rest of 2017?

I hope to release my first few songs before summer and then go from there and hopefully an album in the Fall.


What is your FAULT?

Overthinking, worrying about things that may not be in my control and not being present. I am sometimes too hard on myself and I get frustrated with how sensitive and emotional I can get, but I’m learning to love myself a little more during the times when I am sad or insecure, and I just remind myself that feeling those emotions is just a part of being human, and we have to love all the parts of our humanity, because they’re not there to hurt us, they’re there to make us understand ourselves a little better.


Read Camila Cabello’s full interview and see more exclusive photographs only in FAULT’s Special #25


Kehlani: Focused, Fashionable and FAULTY in FAULT Magazine #25 Covershoot


Photography by Jacob Hodgkinson
Styling by Rachel Holland
Makeup by Nicky Weir
Hairstyling by Stefan Bertin
Styling assistance by Ines Oom, Tara Theiss & Stephanie – Min Hua Choo

Kehlani – ‘A Rise With Grace’

Words: Miles Holder

The rise of Kehlani hasn’t been an easy one; at every stage in her career she has been given a new cross to bear or obstacle to climb but despite all her hardships, she has always emerged triumphant. Releasing her critically acclaimed debut album ‘SweetSexySavage’ in January 2017 and currently on her highly rated world tour, while it’s been a long time coming, it would seem that Kehlani is finally seeing the fruits of her many years of hard labour. Speaking with a delicate manner but a hardened confidence far beyond her 21 years of age, we sat down to find out more about one of R&B’s most exciting artists.

Looking back, were you happy with how your album did?

I think it was really good for the time that it came out. There was a lot of negative commotion happening especially in my country with the US election so I think that something easy and positive was definitely needed at that time.

You air your personal feelings and fears out there on the album, is it hard to expose so much emotion for the world to hear?

With me, it’s all or nothing; go hard or go home. We all as know what’s really going on and people will feel it if it’s not really me on the track. I want to make people feel through my music – we all put up with fake shit all the time so I wanted to contribute something that’s the real me.

Music has always been your life and it’s something you’ve been working on for so long, did that not put a lot of pressure on you to succeed when dropping new music?

For me, the pressure doesn’t come from outside people, it’s all what I put on myself in the creative process. I’m asking myself “Could I hit that note better” or “should I shift beats differently”, but I’m not thinking about the sales-numbers because that doesn’t really matter. I just worry about making sure whatever I’m working on is a better project than the last.

How do you deal with the pressure of all the show business?

I’m doing so much that I never have time to really stop and think about it all. I don’t have the focus and it’s hard to manage but at the end of the day, it’s got to get done! Ain’t non of this shit easy for anyone.

What advice would you give to your younger self?

I’d tell myself to just stay focused and get as much rest as you can because you’re about to turn up! [laughs] But seriously, I’d tell myself to learn how to prioritise myself and to learn how to protect my energy. If I had entered the industry with more knowledge on self, how to protect myself and emotional take care of my life then things would have been much easier.

Being a sensitive, open and loving person has definitely led to some downfalls but I do wish I’d learnt some emotional grounding as a kid but I don’t beat myself up about it because it’s hard and most people don’t even learn half of that until they’re old.

When you shut your eyes and you think of your perfect future, what is it?

I want to be a mum. I want to have my kids and just settle down. If I keep going as fast as I’ve been going, I’m going to be over it and it’ll be time for the quiet life one day.

What’s your message to all young people out there who might have gone through or are going through the same struggles you have?

Don’t let the world discourage you or let the things that weigh on your shoulders crush you. Know that for me, it’s really hard and as a woman especially because we’re so caring and we have large hearts which make us want to fix the unfixable and carry a weight too large to bear. I just hope everyone out there knows to just breathe through it and to take everything at their own pace. Most importantly, people should never forget to take care of themselves.

What is your FAULT?

I don’t know how to answer that because I’m so human and I never stop to imagine that I’d only ever have one fault. We all have FAULTs, being twenty-one-years-old reminds me that I’m human because I’m pretty sure I have a fuck up every single day. I can’t think of just one thing -that’s my FAULT.

Read Kehlani’s full interview and see more exclusive photographs only in FAULT’s Special #25


FAULT Magazine Issue 25 Preview: Counterfeit. – Together We Are Stronger



Surely you remember the Counterfeit. boys fronted by our FAULT issue 22 Cover Jamie Campbell Bower. Long story short, they’re basically part of the FAULT family now. When we last caught up, the boys were only just releasing their debut EP. Well, fast-forward six months and they’ve got a brand new record out. We caught up again with the group and here’s a little teaser for what’s about to come out in our FAULT Issue 25. 


It’s been 6 months since we last caught up and back then you were only just releasing your EP. Look at us now, with you guys releasing your debut album! What’s the vibe in the Counterfeit. camp at the moment?

Jamie: It’s pretty good. We’ve made an album over the past six months since we saw you last. We’ve sort of been gearing up for the release ever since, while being locked away in a tiny room.

Now that you’ve got a full body of work that represents Counterfeit. if we were to listen to your EP back to back with your album, would we notice any differences?

Tristan: Yes definitely, it’s a step up from our EP. Mitch, the guy who we worked with on our album, is really talented. He’s worked with people like Rattlesnakes and the sound that he’s created for us is really raw.

Jamie: The album in comparison to the EP is a lot tighter and closer. Sonically, it’s a lot beefier and thicker than what we’ve done before. The sound that we wanted for the album compared to the EP comes from this love of a nice kick and a heavy snare rather than a roomy sound, so that’s definitely a step up in terms of how we went about it. But it’s still very much Counterfeit. It hasn’t changed. There’s room for mistakes in the record and those moments of ‘Oh what’s that?’ are really nice on an album. As opposed to, you know, something general and clean-cut from beginning to end.


I remember you were saying that most of your songs come from a very personal and honest place. Which one was the hardest for you to write and put out there and what’s the back-story?

Jamie: There are a few out there that are quite tough. The record opens with a song called ‘Washed Out’ and that’s a reflection of a period of my life from about 15 to 26 when my life was going in a direction and I didn’t really know which way it was going. I would actively do things that were negative that would have a negative impact on my life. Just the way that I acted or certain actions that I did, I wasn’t really ready to accept life on life’s terms. It was more about blowing everything up, because I didn’t really feel I had control. I was always trying to put a brave face on, like ‘No, I’m fine, I’m cool, I’m grand!’ But the past like two and a half years, I think all of us collectively just did some growing up. I also made some significant changes in my life, in regards to the way I behaved and the things that I did. ‘Washed Out’ was probably one of the first tracks that I wrote. It was a tough song to write. It’s hard to talk about being a mess and it’s not an easy thing to look back on.


What was the most difficult part of producing this record? You already had quite a solid body of work beforehand, but surely there must’ve been times when you felt stuck.

Sam: We all had moments when we went away from it for a little and when we came back we could discuss what troubles we had with the others with a clear head. We work quite well together when it comes to communicating ideas.

Jamie: There was one song – You Can’t Rely – that we’ve never played live, it was written at home and it was still very much in demo format. The chorus part needed to be changed and as soon as we got into the studio we realized that it needed some work. But it wasn’t like something that took a week to get over; we did it in like 4 hours. But the record was made quite quickly; it just took a while to find the time to do it, because we’ve all got our own things going on. But if you were to accumulate all the time that we spent together, it basically just took us 25 days to make a record. And I think that’s a really important factor in terms of what this record is. It’s frantic and struggling to survive and I think recording it over such a sort time-span contributed to those feelings.


Come March-April – you’re going back on the road again. Will we see anything different from Counterfeit on stage?

Jamie: I think the show this time is going to get like bigger and better. We’re getting our own technicians in to do our stuff for us. This band is very much home grown and passion grown, so it’s very important to us to have our own people with us on the road. We want to continue to take the show to bigger and better places. The way that we see it and the way that we see it in our minds is like a huge fucking rock show, and that’s what it needs to be and that’s what we have to provide for these people. We’ve done the tours already, it’s great, cool, and fun, call it whatever and we want to step it up. We want to give it the beans in terms of visuals as well. But yeah, Sam will definitely be put in danger again. I’m thinking less boat this time. I don’t know, maybe an inflatable whale.

Sam: Or just floating from above. Hang me from a cable. Sounds fun.


 Without getting political – but taking into account the current political climate, you come across as the kind of band who is not afraid to speak up. Now that people have something to rebel against, is this an area you’re willing to explore?

Jamie: I don’t think we are the kind of band that is afraid to speak up. We are reactive to what we experience and what we’re shown around us. Would I be afraid to take it into a political direction? No. But would I consciously make an effort to be a beacon? I don’t think I would do that either because I’m sure as shit no pillar of morality myself. Of course there are some horrifically negative people in this world and the things that are happening around us right now tare very scary. I think that maybe if we feel the desire and burning passion to make a socio-political comment on that, then we should and it would be right to do so. But I would never force us to go into that direction. It wouldn’t be a conscious thought. If we were to do it and if we had to do it, it would have to be genuine.

Roland: Another interesting thing is the fact that the album is called ‘Together We Are Stronger’ and for us, it’s like a thank you to our fans. But at the same time it’s a message of unity and coming together. We seem to just live in a world where people just cut you off and simply don’t care. Our message is basically that whoever you are, it’s all good.

Jamie: The world does feel very fractious. I definitely get the sense of fracture and isolation and I think that’s terrifying. Because I don’t come from a place where I want to live on my own and lock all my door and shut all my windows. I’m not a small-minded individual. I truly believe in acceptance, love, understanding and peace.

And on that happy note, have you guys acquired any new FAULTs over the past few months?

Sam: I’m still losing things! I’m losing fewer things though cause I’m taking less things with me.

Jamie: He’s losing less things cause he lost most things already.

Roland: I used to be very good at bowling, but last time I went I lost, so that’s a fault.

Jamie: Over the last six months, I think I’ve been under a lot of pressure and haven’t actually managed to deal with stress in a positive way. I let it get to a point where I just blew up.

Tristan: My fault was disappearing for two days while doing the album.

Jimmy: I’m perfect.

You can order Together We Are Stronger here – available NOW

In anticipation for FAULT Issue 25 – check out an exclusive behind the scenes video with Counterfeit. More to come!


Words: Adina Ilie

Photography: Chris Moore

Photography Assistant: Matthew Lloyd
Grooming : Fabio Vivan @ Emma Davies Agency using Bumble and bumble and grooming with Braun


John Legend X FAULT Magazine Issue 25 Covershoot

John Legend discusses La La Land, Trump’s America and family values in FAULT Magazine #25 ‘US Special’



For this special edition issue, we’ve teamed up some of the USA’s most talented migrant photographers with popular stars in entertainment who have managed to excel despite growing racist, homophobic and sexist sentiment in the land they call home.
 Check back with FAULT Magazine next week for our second reveal!


Casting my mind back to 2005 and the re-emergence of outlandishly dressed musicians and over-the-top performances that had to be done for a fleeting spot in the top 20; it’s humbling that one shy man and his piano have stood the test of time. Fast-forward to 2017 and John Legend is now a household name with six albums under his belt, a family and most recently starred in and executively produced the Oscar-tipped blockbuster movie ‘La La Land’. I caught up with John to discuss music, family life and fears to discover if “Legend” is more than just a name.

Words by Miles Holder

Photography Lionel Deluy @loveartistsagency | Styling by Cat Wennekamp at Celestine Agency| Grooming by Juanita Lyon using Baxter of California at Celestine Agency | Retouching by Julia Idiar | Special Thank You to US Alteration for use of their location

How do you think you’ve changed as a person since your debut all those years ago?

I’ve grown up a lot in the last twelve years and had a lot more life experiences. Getting married and having a baby have added new perspectives and depth to the subjects I sing about too. Just from living in the world and seeing more contemporary issues have added new layers to my music which weren’t there before.


What advice would you give to your younger self?

My life has turned out pretty well so I wouldn’t change much but I would want myself to be bolder growing up. I was shy in college and I would tell myself to be more willing to come out of my shell and dare to be confident.


You’re married with a baby daughter; do you think the positivity they bring to your life spreads throughout the album?

I think I’ve always been an optimistic person and I think that streak of optimism runs through each of my albums. I think there is just more depth to what I’m feeling because everything means more to me now I have a wife and daughter. Everything is more significant and I’m thinking more philosophically about things and thinking about life and death a lot more. Before what I sang about were my ambitions of making money, getting girls and having fun which was a lot more selfish but now I have better perspective and depth on what’s really important in life.


Raising a bi-racial daughter in Trump’s America, does that scare you?

Hopefully “Trump’s America” won’t last very long and we get him out of here within the next four years. By the time Luna is old enough to be aware of what is happening, America would have elected a far better president. Trump promised to do things which are really bad for the country and some which are good and the hope is he’ll just do the good parts but I don’t have a lot of faith in him.  I’m just hoping for the best and when we need to resist and speak out, we need to hit the streets and do it. For now, I’m more worried for the people less fortunate than my daughter, people who might lose their healthcare or get excluded because of the colour of their skin, their religion and country of origin.


Fans have differing ideas of what a John Legend album should sound like. Is that added pressure when it comes to releasing new music?

Not everyone is going to be happy with every album and with every song but when I put music out, I do it with the confidence that my fans will love it or at least give it a chance. The feedback from Darkness and Light has been amazing and it has been my best-reviewed album to date. When I was finishing it, a lot of my friends felt like it was my best work and I felt the same so I was more excited that nervous for people to hear it. I don’t go too much into numbers and charts, what’s important is that people love it and I’ve heard they do.

From the album title, I presumed the songs would be either extremely high octane songs or heart-wrenching ballads but listening to the lyrics, for the most part, it’s an uplifting album and I wondered if that was always your intention?

I think what the title means to me is that darkness and lightness always coexist and theirs a push and pull and it’s not really about one song being dark and one being light as you said you expected, it’s about mixing it all into one song. In Surefire I talk about a nightmare but regardless “I’m surefire” and that’s me inviting darkness and light into one song.


What scares John Legend?

Rats! I’m really scared of rodents.


La La Land has received rave reviews, how was that whole experience?

I loved it and it was really fun to be a part of it. I loved working with Ryan and I didn’t work much with Emma but she’s a wonderful actress and did great in the movie. It was a really cool experience and to be part of something so special and meaningful to so many people.


What is your FAULT?

I don’t like confrontation. Sometimes that’s good because I’m good at keeping the peace but when in times when you have to confront things head on I’ve never been good at that.


Read John Legends full interview and see more exclusive photographs only in FAULT’s Special #25



Exclusive Fault interview with Andrew Salgado

FAULT are proud to host this exclusive interview with artist Andrew Salgado, whose paintings are large-scale works of portraiture that incorporate elements of abstraction and symbolic meaning.
1) TEN is the celebration of a decade of your art; how did it all begin at the very beginning?


I was always interested in painting  even as a kid. I was one of those odd, kinda girly, kinda awkward kids that would fake sick for soccer practice but was like, enrolled in pottery classes and making Tiffany lamps at 11 years old. I mean, in the end it worked out for me but I was a private kid. I had a little playroom as a child and would just spend all day drawing and painting and playing with LEGO. I think it makes sense that as an adult, Im basically doing the same thing. Realistically, it wasnt until I was in high school that I had a seminal two years with a teacher who pushed me to pursue my art further. Prior to that I had always considered art as a hobby… I mean, I come from a family of academics; you just didnt go into university for paintingthe thought that I might pursue a Fine Arts degree was pretty frowned upon at first. My parents friends would ask me what I was taking in university and then there would be this awkward conversational limbo when I had to clarify that I was taking Fine Arts and not Finance. Its just always been the most defining characteristic about me. Ive often said that without art, Im nobody. Im a non-person. Talk about co-dependency!

2) What and whom inspires you?

As a younger artist I used to think inspiration had to come from some divine fount. Like, everything had to be big, operatic, melodramatic. As I mature, inspiration comes from smaller, more intimate sources. Sometimes its a conversation; a song; a poem; a memory; or even silly thingsI did a painting called “Oh!” Which was inspired by a kids paper party hat that I found in my studio. 
My exhibition “The Fool Makes a Joke at Midnight” was inspired by the death of David Bowie and the resulting painting was called “Sound & Vision”. Sometimes the subject provides inspirationmy favourite subject is painter Sandro Kopp, who is also Tilda Swintons partner… I dont like the word muse because I think its overused, but he, along with model and friend Anna Cleveland, were the original sources of inspiration for my show “The Snake”That eventually evolved into something much biggerthe show discussed homophobia, Islamophobia, xenophobia, and I even painted my first transgender subject in “Chrysalis (Portrait of a Girl)”Little things can become bigger things, but “The Snake” took me to darker places that I was fully prepared to go. 
Lately, installation has been integral to the reading of the work. The paintings are stretching their limbs beyond their own confines. I just want to let them breathe, and take me on a journey that is more irreverent. I dont want to be so political right now. The world is ugly enough, I want to have fun and make people smile. For my next show, Im keeping my head above the water. Ive asked Australian artist Rhys Lee to make sculptures to accompany my paintings, and were doing a show called “A Room With A View of the Ocean”My assistant is currently sourcing lemon yellow furnitureif that tells you anything. Right now Im inspired by freedom. Possibility. The idea of an endless horizon. That gives me room to experiment.

3) How have you grown personally and creatively over these ten years, and how do the ten images selected for this exhibition, reflect that period?

Well it really is the Design of a Decade, hah, to quote Janet Jackson. But seriously, I’ve changed as an artist and as a person. I’ve grown into myself and so have the paintings grown into themselves. The show was curated by David Liss of the Museum of Contemporary Canadian Art in Toronto. After he agreed to curate the show and write a foreword for the corresponding monograph of my work, also entitled TEN (available for purchase at www.andrewsalgado.com or my representing gallery Beers London), I presented him with about 35 works that I would be okay with representing various periods of my work for a survey exhibition. There was one piece that for some random reason the owner wouldn’t lend back to us, called It Is The Fear that Keeps Us Awake, so I do think that there is a slight jump in the presentation wherein that period of a deconstructed face is missing…but overall, I’m focusing on the future, not lamenting the past. The first piece selected was Schismatics, a painting of one of my closest friends from 2006. Then you see paintings that exhibit a lot of pain after I was assaulted in a hate-crime in 2008…and then, well, you see me sort of…grow out of that. Into a more confident, happier, perhaps even more spiritual place, where I am now. You see that spirituality in Afterlife / Osiris. David and I spoke and I realize that there is a real sense of optimism in the show. I guess that reflects my outlook in life as well.

4) ‘Black Dionysus’ is a particulary striking piece. One of your earlier pieces, and much darker than more recent works. Tell us about that work?

There are a few of these Dionysus paintings. Black, Green, and Pink. I love the idea of this somewhat tortured archetype of the bacchanal. He’s the opposite of Apollo – the god of Order – he represents these wild, drunk, creative but sometimes destructive ideals. I think I see that in myself. I’m definitely more aligned with that mythos than anything other. You’ve seen it before as well with Caravaggio and countless other artists. We relate to that. The Ancient Greeks, the Classicists, the Neo-Romanticists…I mean, he appears countlessly.
I think there are some beautiful hesitations in that piece. I wasn’t as confident and it shows.

5) I first became acquainted with your work, when it was featured in the Harvey Nichols windows. I assumed that it was the colours that had originally caught my attention, but later I came to realise that it had in fact been the portraits eyes. Are the eyes “windows to the souls” of your subjects?

You know I really sort of try to avoid this idea. In my previous show The Snake at Beers every subject had obstructed eyes. As an artist, you have two choices – the first: feed into your audience and give them exactly what they want, which typically is at odds with what you want, creatively, as an artist. The other option is to challenge yourself and your audience, and I prefer to take that route. None of the works offer easy answers, and so in all honesty when people say ‘I love the eyes in your paintings’ it makes me want to take a scraper and scrape it right out. In fact, a lot of the eyes I do are scribbled right over. I like the idea of making beautiful things ugly, and ugly things beautiful. No, I don’t think the eyes are the windows to the soul. The painting emits a sensation and a feeling as an autonomous whole. One part is no more or less important than the next…I mean if it were just about pretty eyes I’d just sit around painting pretty eyes all day. I want to make things more complex. If you look at a painting like Orlando, for interest, I literally scribbled right over the eyes. In Chrysalis, they are hardly both hardly painted whatsoever and then also literally stitched overtop with needle and thread.

6) Your works often portray an almost savage level of raw emotion, laying bare the layers and complexity, of each subject. How do you so successfully achieve the transference of the emotional connection, that you clearly establish with your subjects?

People bring up this notion of ’emotion’ often when talking about my work. I really don’t know. I have something important that I’m trying to say, I respect my subject, my process, my viewer, my collectors… I just believe fundamentally and fully in what I do. So with that sort of respect for the artwork, I guess something makes a connection. I don’t have a crazy high output – I think it was 24 paintings in 2016…so there is a lot of time spent considering the works and the process. They have to connect with me and the viewer and if they don’t, they will never leave the studio. I think a lot of artists cut corners, or art – or become – lazy. That doesn’t cut it…I’m always working, and trying to improve, and so far people have responded to that.

7) Love, loss, life, pain and emotion are all words that your work conjures for the viewer. I an age where many men are now coming to grips with their mental health, do you intentionally reflect this important issue in your work?

Wow I’m so happy you brought this up. Its in there, buried deeply. I suffer from overwhelming anxiety that – if not attended – means I cannot produce. So I deal with that, medically. But I think one of the first problems with mental health is that label; the second problem is how widespread and how frequently it goes undiagnosed. People are suffering, but we arent talking about it. Somehow, through my work, people open up. We share an experience together. Often, but not always, I have strangely deep connections with my subjects through the process of painting them. Then we become friends, and its like we speak in a new language together. We have connected through a bond wherein I understand them – and they understand me – on a different level. Its weird. I sound crazy. But its true.

8) You stated that often “you didn’t have faith in yourself” how did you overcome that?

I surround myself by people who support and believe in me. Its a lonely job – this artistmanship. My job is to spend 8 hours a day self-critiquing my every single goddamned mark, movement, brushstroke, and creation, so if you’re not careful, that can take you to a dark place. And if you’re an artist who isn’t doing that, well then quit. Because you’re wasting our time as much as you’re wasting your own.

9) To all those “kids from the praries” out there with pots of paint, what advice would you impart?

Work twice as hard, worry half as much. And support your peers; we’re in this together.
Words: Ian Michael Turner

FAULT catches up with Joss Stone in the middle of her world tour

In March of 2014, singer Joss Stone embarked on her World Tour. Now, over two years later, she’s not even halfway done. That’s because she’s trying to hit every country. Yes, all of them. Somehow, Stone managed to find some time to talk to FAULT about the tour, geopolitics, and Stone’d Records.

Dress – Temperley London / Jewels – Joss’s own

FAULT: How did you get the idea for the Total World Tour?

Joss: Okay, I will tell you a story: I was in Japan, and I was up a mountain playing a gig called Fuji Rock, which this lovely festival. I looked around, and I thought, “Everything is so different here.” I kind of felt like I was on another planet (Of course I wasn’t; I was on Planet Earth.). But I felt that I was very, very far away from home. The culture was very different there. The people were different. Their accents were different. They looked different. Everything was different. But when you make music, you connect with these people just like you would anybody else, anywhere else. So I thought, “Well hold on a minute. If music can take us here, music can take us anywhere. Why don’t we do that? Why don’t we do a World Tour?” You know, the answer is always going to be money. That’s why people don’t do it. But anyway, I just decided that wasn’t really right, and was gonna just do a World Tour and spread as much goodness as I can through music. And you know… I’m doing it.


FAULT: How did you become interested in world music in the first place?

Joss: I think I’m just interested in music. I don’t think I’ve ever really had a line. I’ve never really been the type of person to say, “I’m into soul music. That’s what I’m into.” I don’t really do that. I kind of just go, “Well, I just love music, and I’m interested in hearing all different things from all different people.”

Dress – Temperley London / Jewels – Joss’s own


FAULT: How many countries have you done so far? 

Joss: 77, I think right now. I mean, there are about 204 total, but it really depends what you feel politically, because some places think that they’re separate countries, and they’re not. It really depends which list you go by. There’s one book that has 226, and then there are lists that say 196, and another list that says 204. But we’re trying to do as many as we can.

Dress – Free People / Jewels – Joss’s own


FAULT: What’s the most valuable thing you’ve learned from all this?

Joss: People are good, aren’t they? I had that opinion anyway, so to say that I learned something on the World Tour is kind of bullshit. But I think that it’s solidified my opinion. Every time I move from one country to the next, I get this wonderful feeling of, “Ah, I knew it! I knew people were good! I know this!” But in a way, I’m trying to prove to myself that it doesn’t matter where you’re from or what culture you were brought up into. At the end of the day, we’re human beings. We all bleed red. And we all love. And we all laugh. And we all cry. You know, we are the same. We are brothers and sisters and mothers and fathers. It doesn’t bear any difference at all to where you go. So far. I’m a girl who’s only been to 77 countries. Maybe at the end of it, I might have a different opinion. I’m always open to my opinion changing, but so far, it’s not happened.


FAULT: What’s something about music that you think artists from English-speaking countries can learn from the rest of the world?

Joss: I think there’s a lot of different colours out there that you can incorporate into your music. There’s a lot of different timings and notes that we don’t even use. Like an Indian scale is different to our scale. There are also different techniques you can use. In certain parts of Africa—which I haven’t been to yet, but I’m hoping to go—there are these women who play the drums with the water by cupping their hands. It’s like they are using nature as an instrument. We should do that more often. We should step away from our computers and go see what sounds the woods make, or what sounds the grass makes. Listen to the birds a little bit more often. Think outside the box. If we weren’t so blessed to have all this technology, what would we do then? Because making music is part of nature.

Top – Stylist’s own

FAULT: How does it feel to go so far away and still have people singing along to your songs?

Joss: It feels amazing. It really does. It’s quite funny because to go somewhere like Botswana or Zambia and hear them seeing along, it was so cool. You really do have a moment where you’re like, “Wow, I cannot believe that they even know that.” Then when we get to a place where they don’t know it at all, and they’re totally hooked into the music that they’re hearing, that’s a whole other type of cool. Because they are listening purely for the music and not thinking, “Oh, there’s this famous girl onstage.” They don’t even know me, and I kind of like that because you don’t what you’re going to get. The reaction is very real. It’s not tainted, and no one has a preconception of you. So you get great stuff out of both seemingly opposite reactions. So far it’s been very positive, thank God.


FAULT: Do you think having had so much success at such a young age has maybe limited people’s perceptions of you?

Joss: Oh no, I don’t think that. I think sometimes people get stuck in one specific era. You can say that for any artist or any style of music. But some people just get stuck in a certain album. I’m absolutely guilty of doing that. I do that with many artists, where I love an album and never really move on. I like to be able to give those people a bit of joy and sing their songs as well. Because I completely get how fun that can be, to hear a song that you listened to when you were a kid or whatever. So their perception is what it is. And then you meet them and maybe it changes, who knows?

Dress – Baum Und Pferdgarten

FAULT: How has releasing via your own label, Stone’d Records, been different from going through a traditional label?

Joss: I would say that it’s more free. I can do whatever I want without having to ask for permission. It’s kind of like the difference between working for yourself and working for someone else. It’s like the difference between being a hired singer and just being a singer of the planet. I work for myself now, so when I make the music that I make, there’s no person telling me that it’s wrong, or that it won’t sell anything, or that it’s it’s not a hit. There’s no negativity surrounding it. It’s just, “Hey, you you want to come make some music?” “Okay, let’s go do that. Hi.”


FAULT: How was your experience at the Grenada Festival?

Joss: I loved that, actually. That was really fun. I thought it was gorgeous—really lovely people.


FAULT: What are you working on right now?

Joss: My hair. I’m doing I’m hair right now (laughs)… Uhm, I have a bit of a project, a six-track EP that I wrote in my garden. It’s about mother nature. It’s really fun. We’re just working on the mix right now.

Dress – Baum Und Pferdgarten

FAULT: What is your FAULT? 

Joss: Well, my bad habits include smoking, which is not good—very bad for you; eating chocolate; probably sleeping in too late; and impatience.


Words: Cody Fitzpatrick

Photography: Jack Alexander

Styling: Holly Ounstead @ Frank Agency

Hair and Make-Up: Louise Hall using Maria Nila @marianilastockholm and Laura Mercier