Clean Bandit – Exclusive Online Cover Shoot and Interview

Clean Bandit, formed of Grace Chatto and brothers Jack and Luke Patterson, are known for their inescapably catchy hybrid of electro-classical-pop. The band, which originated in Cambridge, won a Grammy for their song, ‘Rather Be’ and have had three number one hits in the UK to date, a figure that will no doubt continue to climb as they release new music.

We caught up with the trio following their exclusive shoot for FAULT’s online cover, to talk about their upcoming sophomore album, dream collaborations, love of touring and not letting the pressures of success get to them.

GRACE – Top: River Island, Trousers: Aphid, Shoes: stylists own / JACK – Suit: New & Lingwood, T-Shirt: River Island, Shoes: Converse / LUKE – Jumper: Cheap Monday, Trousers: River Island, Shoes: Converse

‘New Eyes’ was released three years ago and you’ve got a follow-up album in the works. Can you tell us anything about the focal themes?

Grace: I think the first album was a lot more lighthearted, whilst our second album, with the lyrics anyway, are more serious. Some of them are about breaking up, like ‘I Miss You’ and ‘Tears’, which will both be on the album. The music is still quite dancey.

Jack: I think other acts find it easier to put out a larger volume of music at a time but as we produce and write all our own stuff, and we also produce and make the music videos, it just takes us so much longer to create each piece of music, so we’ve really been focusing on that the last few years. We were touring our first album for a really long time as well. But our second one is in the works and it’s nearly done. Hopefully early next year.

You’ve previously said that you focus on making individual songs rather than making music as a collective body of work. Is this the approach you’re continuing with?

Luke: I reckon so, yeah. It kinda suits the way we work. We’ve been getting into the video side of things even more since the last [album]; making things even more extravagant working with bigger crews, trying not to limit ourselves.

Grace: A lot of our singles have been quite different styles but one thing that unifies this album is the way that we made it. It was much less produced from the beginning. With the last album, we would think about the sounds and make them on the computer but with these, it was more about the piano and voice firstly, then thinking about all the electronics afterwards.

Jacket, Topshop – Tee, River Island

You’ve collaborated with a number of British solo artists – from Anne Marie and Louisa to Jess Glynne – all of whom, at the time of working with you, were still up and coming. Did you choose to work with these singers because you feel it’s important to help nurture homegrown talent like yourselves?

Jack: All of those people are just so talented in their own right. We’re always looking for amazing voices to either write with or record and perform songs.

Grace: We always try to think about what voice will work best with the song we’ve got. We took ‘Rather Be’ to Jess Glynne and quite a few other singers as well to try out different voices but it worked best with hers. ‘I Miss You’ was different because we wrote it with Julia Michaels and it’s a very personal song to her. We heard Zara Larsson singing at a festival a few years ago, showed her ‘Symphony’, she loved it and came on board with it straightaway. It totally transformed the track. It’s exciting when someone brings a whole new personality and vibe to a song.

GRACE – Top: Monki, Trousers: Monki, Shoes: Jimmy Choo / JACK – Top: Coach, Trousers: Jack’s own, Shoes: Converse / LUKE – Top: Urban Outfitters, Trousers: Luke’s own, Shoes: Converse

Who would you absolutely love to work with?

Jack: Beyonce, Lana del Rey, Drake, Kendrick Lamar…

Luke: Stormzy.

Jack: Frank Ocean.

Grace: Miley Cyrus, Bruno Mars, Bryson Tiller.

You’ve got a big US tour lined up for next year. Do you enjoy life on the road?

Grace: I love it. It’s really cathartic thing for me because I love travelling and seeing real people react to our music in real time. There’s no feeling like it. I also love playing with other people.

Luke: I love being out there. I love dedicated time to tours when you know you’re going to be away for a month and you can really get into the zone.

Jack: Weirdly it’s only on tour that we find a routine. When we’re back in the UK what we’re doing is so disjointed.

Grace: Having a tour manager that looks after us all is like being on a school trip; telling us where to go, what to do [laughs]!

Jacket, Issey Miyake

Which are your favourite songs to play live?

Jack: ‘Disconnect’, our collaboration with Marina and the Diamonds. Some good keyboard moments in there.

Luke: It’s still ‘Rather Be’. We’ve changed it up a bit and have some insane key changes at the end of the song which just take it up a notch.

Jack: We like to remix older tracks as well when we’re playing live.

Grace: ‘Rockabye’ and ‘Birch’.

GRACE – Dress: Amanda Wakeley, Shoes: Stylist’s own / JACK – Top: Levi’s Jeans: River Island, Shoes: Filling Pieces / LUKE – Shirt: Paul Smith @ Finnicks Trousers: All Saints Shoes, Jimmy Choo

You’ve had three number one hits in the UK so far. There must be quite a lot of pressure to keep producing chart-toppers. How do you stay on top of your game and not let this get to you?

Luke: There’s a lot of collaborations that go on that are all about the fame game, but our mentality is just to write a quality tune rather than remixing something just for the sake of it.

Grace: We just try and make songs that we like rather than making what we think other people will like.

Jacket & Jeans, Topshop / Shoes, Grace’s Own

What is your FAULT?

Grace: I’m bossy. It can get on other people’s nerves but it can also help get stuff done.

Luke: What’s my fault?

Jack: Your fault? You’re a bastard [laughs]!

Luke: That’s not my fault, that’s your fault!


Find Clean Bandit on Facebook, Twitter and Instagram.


Words: Aimee Phillips

Photography: Jack Alexander

Styling: Holly Ounstead

Make-Up: Elaine Lynskey using MAC Cosmetics

Hair: Narad Kutowaroo using Unite Hair

Styling Assistants: Ellie McWhan and Jordyn Antunes

Special thanks: Burlock

Kojey Radical Speaks to FAULT about ‘In Gods Body’

At just 24 years-old, Kojey Radical is a trailblazer with a strong sense of artistic and personal vision. Nominated for two MOBO awards last year, the London-based poet, musician and mixed media visual artist is mostly known for his unique hybrid of spoken word and rap. But he’s so much more than his music; Kojey’s also the founder of creative collective PUSHCRAYONS and the art director of menswear brand Chelsea Bravo. More recently, he’s joined VOXI by Vodafone as a curator. VOXI is a new mobile service by Vodafone created for and by young people, enabling them to use their phone in the way they want and need. The VOXI SIM lets you use social & chat apps, as much as you like. And it doesn’t affect your data allowance. With as much calling and texting as you want, the freedom to roam in Europe as you do at home, and no contract, VOXI is accessible, flexible and completely transparent. 

We caught up with Kojey to talk about his latest project, ‘In Gods Body, being a curator for VOXI and reflecting one’s authentic self online.

You got into music through your love of painting and poetry, but it’s become your career focus. Do you ever wish you had pursued one of the others instead? Or do you intend to integrate your passions into a project at some point?

I feel like art has always been one entity for me. Everything that I’ve learned over the years has been a different medium to help me create. Me doing music was more from an art focus than a music career focus. It was a means to express myself. I’ve never necessarily switched off from the other mediums. I think eventually, as I have more successes with music, I definitely wanna to turn my hand to creating other experiences to help other generations.

You dropped your latest album, ‘In Gods Body’ two months ago. How has the reception been?

Crazier than I expected because I never intended it to be an album, I think people heard it and appreciated it so much that for them it’s an album. For me, it’s a living and growing project. I don’t think it’s really begun to take shape yet, I think people are still digesting the music. It’s been beautiful to see how much people have connected with it and how much they love it. I think at the moment I’m just in a period of being grateful. There’s definitely more to come.

Which is your favourite track from the album and what does it represent to you?

It changes every week but my favourite two at the moment are ‘Mood’ and ‘Icarus’. ‘Mood’ because it represents so much for me in terms of my creative team coming together to pull off things I never thought were possible. The space that I was in when I wrote it was genuine, so I think it’s one of my most honest pieces. ‘Icarus’ because of the stories I’ve heard in response to people listening to it. Things like that make all the difference when you’re a creator.

You were on tour for the best part of this year. Now that it’s over, do you miss life on the road?

I’m back on the road again soon. I’m going to Amsterdam, Berlin, Brazil, and South Africa. It’s been a wild experience this whole year, to be honest.

You’re currently working with VOXI by Vodafone as a curator. What does this role involve?

As a creator, I’m working with a team of young people, which is the most exciting part of this whole experience; being able to sit down and talk with new creators and find out what’s happening. Everyone’s under 25 which is completely rare for a big project like this. I think what Vodafone have created with VOXI is completely unique and I’m just there to help!

How do you hope to inspire other young people?

I just wanna be able to offer a perspective of reality. When I was growing up and trying to get into the creative field, you’re given so much overly optimistic advice, rather than actually being given key pieces of information that you can take away and learn from. I just wanna be honest with them, find out what they wanna do and help them find the best way to achieve it.

What advice would you give to your younger self?

I would say, if the milk looks off, don’t drink it. I would say, you don’t look good in turquoise, and I would also say, stay focused; remember that not every no means the door is closed but more that you have to find a new way in. I think if you have that approach to life, nothing can really defeat you.

You’re pretty active on social media and have amassed quite a loyal following. With social media being one of the main perception builders about the character of others, how do you ensure that your profile represents the artist you want to be?

The internet makes it very easy to fabricate who you are. We’re in a day and age where you can brand being yourself and monetise that. It’s a great tool to be able to kickstart your earliest ideas. Social media allowed me to do so when I first started writing poetry on the internet. I wasn’t sure how that would create links to other things but slowly and surely it did. It wasn’t about the views, it was about getting something out into the world so people could appreciate it. I think that’s one of the best things about social media and how we can use it. I don’t think you can try to be authentic, I think you wake up and you’re authentic.

What is your FAULT?

I don’t get excited by things, I’m constantly in a state of acceptance and sometimes that’s a good thing and sometimes that’s a bad thing. You wanna make sure you’re doing good for everyone when you’re on stage, you’re saying the right things and people are enjoying the music.

Words: Aimee Phillips

LFW Feb ’14: Day 4 AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.


 Roksanda Ilincic


Is it safe to assume that come AW14 the colour Royal blue is going to be EVERYWHERE? Here it cropped up again in Roksanda Ilincic’s new collection. The pieces looked strongly influenced by modern art with staggered hemlines, interesting, angular draping, with strong use of colour and blocks of colour with sheer panels plus angular pattern repeating throughout. Stripes made a subtle appearance and could be seen on the edges of hems, around collars and and on the larger patterns of the clothing. Thick woolen, luxurious-looking pieces made way to a confetti dress made up of shards of colour, this then continued more subtly onto the other pieces that followed in the collection. Cute flat shoes and ankle socks reigned supreme, as did gorgeous chunky gold belts leaving us with a vision of the thinking woman’s wardrobe.

Words by Rachel Holland




The Osman A/W14 collection was a beautiful collision of the Middle Eastern- Moorish prints, Byzantine blue, dusty Moroccan pink- with the surrealism of Europe in the 1920s. These influences played off each other beautifully, with sleek, minimalist silhouettes allowing for intricately ornamental embellishment, surreal embroidery, and exotic details such as sashes. The palette was bold without being too much, with shades that felt well-researched and prints that seemed authentic. It felt that this collection really took a journey and paid tribute to the nuances and intricacies of another culture. Yousefzada laid out a new shape, with asymmetrical hemlines and skinny cropped trousers that seemed a nod to Raf Simons at Dior. The surreal details – bold eyes and manicured hands – did not impose, instead adding a lightness and playful quality to what was otherwise a very heavy, luxe look.  From full evening dresses to separates and accessories, this is a collection that will translate well both in print and on the shop floor. On the runway, the richness of colour and print made a striking impact, but the finer details of the texture and elegant tailoring really took this collection to another level.

Words by Will Ballantyne-Reid


Marios Schwab


In what felt like a much more commercial collection for Schwab, which felt less focused on the red carpet and more about bringing the label into the closets of modern women, an edge of cool could be seen throughout. With a play on hemlines, structure and with most of the hemlines super-short, this was a focused collection from someone who knows their target audience well. Leather jackets, bomber jackets and capes were slung over pretty dresses or leather trousers. Sheer layers with elegant shapes and even trains featured in the catwalk show, there’s something in this collection that would appeal to everyone and that, lies in it’s success.

Words by Rachel Holland




Erdem’s collection took on elements of the 1960’s with references of fine couture and heritage techniques woven into delicate fabric, with the designers signature flowers and blooms. With many of the pieces having a purposely unfinished feel. The attention to detail, as always expected with this label, was exquisite. Gold, black and cream brocade sat alongside wet-look coats and jackets for an interesting contrast. Some coats and dresses were unexpectedly slashed at the elbows, sheer panels popped up at the neck and the focus on embroidery and embellishment could be seen in each piece. Far from being stuffy, this is a modern Erdem glimpsing at the past while striding forcefully into the future.

Words by Rachel Holland


David Koma


David Koma’s show was a slick affair, with each piece being well thought out, edited back and refined so that the brand’s message was completely clear. That the Koma woman means business. Open-toed boots or shoes clad every model, the boots of note being the knee-highs – giving the outfits a feeling of restriction yet freedom. The first looks that entered the catwalk were a rich purple in a complete body colour-block – a bold statement. This led to grey to white to black and finally to pops of royal blue. Caging detail and harnessing revealed hints of flesh, looking decidedly stern, yet, the full skirts were more of a feminine, pretty detail. Leather and ‘angular lace’ however were far from pretty, creating a bold, strong statement that despite the dominatrix overtones, look surprisingly wearable.

Words by Rachel Holland


Burberry Prorsum


Burberry was a painterly affair this season with botanical prints on bags, scarves and jackets with more than a passing nod to the artists muse or the 70’s bohemian, which is an unusual spin for AW14 but one that we can thankfully embrace. The longer skirt lengths, the cinched waist and the easy, draped shawls, blankets and sheepskin coats made for a high-class aristocratic mood, but one where the heroine runs away with a penniless poet, painter or musician. The monogrammed scarves, the caped trench and the hand painted bags will no doubt sell out fast as the must-have buys for the new season. The pretty delicate dresses and the wearable, statement coats will undoubtably be do well amongst the labels core fans. The Burberry powerhouse is showing no signs of slowing down, so it was fun to see Bailey having a lighter mood this season and looking to the bohemian for his inspiration, we applaud it.

Words by Rachel Holland


Peter Pilotto


This was a pleasant surprise from Peter Pilotto this season after previous seasons displaying a more restricted and refined aesthetic. There was colour and print and lots of it, having varying levels of success in some pieces more than others. Literally every piece was unexpected and just when you thought that you had the collection ‘fixed’ in your head, a new equally dazzling look would emerge down the catwalk. An alpine print was used to great effect in both a dress and a padded suit, the sporty, patterned coats felt extremely ‘now’, whilst the colourful patterned detail picked up where Mary Kantranzou has left off and took us in a new direction. I loved the slouchy layering of contrasting patterned knits, more so than the earlier pieces, I can imagine the effortless comfort of wearing these looks and yet looking totally wild and eclectic at the same time. Despite reading conflicting reviews elsewehere, this collection gets a big thumbs up from me.

Words by Rachel Holland




Giles is the designer who we can rely on to represent the cool British girls. This season he focused on playfulness and anarchy. The show was set in a dark car park in the East End of London to set the mood, with strobing lighting to add to the overall rebellious ‘Giles’ vibe. Punky looking girls strode the catwalk, with Brit model, Cara, snapping selfies of herself and the front row, creating an iconic catwalk moment. The theme was rebellion, the clothes either tropical bright, lime tartan or monochrome. Hummingbirds were the motif of the collection, trickling out towards the end as bugs crawling the edges of cocktail dresses. It did, as a whole feel a bit haphazard, however there were coveteable pieces in there, namely the capes, the long straight dresses, the leather items and the shorter dresses. The accessories will be perfect for wearability alone – long, leather gloves, huge scarves and punked-up boots will add an instant update to any winter wardrobe. Giles’ previous seasons are hard to follow, however we have no doubt that the best is yet to come.

Words by Rachel Holland




Showing a wicked sense of humour, Tom Ford took a cultural reference and spun it on it’s head with his upgraded version of the ‘Tom Ford 61’. A knockoff top that’s been doing the rounds in sub-culture – Ford’s now turned into a glittery party dress. The rest of the collection felt 60’s and a bit rock n roll with a sombre mood. Monochrome featured heavily throughout the collection, with splashes of bold red, copper and leopard print. There was a big play on textures with sequins, leather, velvet and wool. Of note were the long velvet dresses, so casual and wearable, yet so high-end at the same time. They could easily be dressed up for the red carpet with some striking jewels or down with a pair of rugged biker boots.

Ford proves season after season that’s he’s a master of the catwalk. With a huge celebrity turnout, plus using big name models such as Karen Elson, Liberty Ross, Stella Tennant and Georgia Jagger during his show, his pulling power is clear to see. And that’s the reason why we keep coming back, because we just can’t get enough Tom Ford in our lives.

Words by Rachel Holland




In the last year, KTZ has reached a whole new level of iconic brand identity. With the likes of Rihanna and A$AP ROCKY on board, the label has swiftly made an imprint upon the mainstream with its monochrome palette, bold prints and edgy proportions. In this vein, it can be easy to assume you’ll know what a KTZ show will look like before it comes down the runway. However the label somehow continues to challenge its own aesthetic, finding a new innovation whilst satisfying its cult following. This season the look was a sort of Medieval-Bionic-hybrid, with tabards and tunics in the form of oversized and embellished shirts and dresses, worn with leggings and trousers in beautifully manipulated silk and leather. Ribbed leather leggings had the look of machine parts, whilst jackets and tunic had a heavy luxury, weighted with geometric jewel patterns and studs. For their menswear presentation this season, the label sent models down the runway with snow-shrouded faces and this Arctic influence carried over; from the puffa jackets to the Doctor Zhivago hoods in pale silk lace. To put it simply, this was yet another triumph for a label that is already taking the world by storm. Who knows where they will be by next season?

Words by Will Ballantyne-Reid



LFW Feb ’14: Day 3 AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.


Preen by Thornton Bregazzi


This season’s Preen collection was a real smorgasbord of references; Star Wars detailing, metallic fabrics, Victorian silhouettes and prints that recalled the kaleidoscopic graphics of Eley Kishimoto. The look was strong; neon in palette and merging these influences with every look, creating a runway woman who appeared clearly creative and clever with it. Styling the show can have been no mean feat, but experimental proportions balanced each other beautifully, retaining an easiness and effortless luxury. The lightness of the lace and metallics allowed for a loose shape and complex layering of print and colour. Some of the totally neon orange looks could have seemed too much but, amidst the coolly intellectual collage of the other looks, they were bold and high-impact.




For AW14, Temperley London looked abroad, using ethnic prints and an Oriental-influenced palette of china blue and pale white, with bursts of tribal print and folk embroidery. This felt like a bit of a revival of the boho-chic that was so popular when Temperley first burst onto the scene in the early 2000s, but there was a sharpness of silhouette and cut that launched the collection right up to date. Cut at the waist, with strong prints and beautifully intricate detailing, these looks were bold and unusually utilitarian, whilst maintaining the glamour and femininity that the label is so renowned for. The collection unfolded nicely, with heavier evening looks dispersed throughout so that it managed to end not in predictably darker night shades but in light peach and blush pink, with a final look in palest ivory. Temperley knows her strengths, and she has mastered the art of playing to them without endlessly repeating herself.


Topshop Unique


The Topshop Unique show always offers a wide range of influences and looks, and AW14 was no different. The majority of the collection was rendered in a cool palette of concrete grey, electric blue and stony black. The look was loose, effortless and- as is always the case- achingly cool. Jackets and coats were worn with sleeves slipping off the shoulder whilst skirts were, for the most part, short or sheer. Everything from jumpers to jackets to fur tabards were belted in at the waist and trousers were slouchy and rolled at the cuffs. The collection may have benefited from a more strict adherence to the original colour palette but a mid-section in camel and taupe detracted nothing from the strength of the shapes and silhouettes on offer.


Vivienne Westwood Red Label       


Vivienne Westwood has become a true hallmark of British heritage and quality and her AW14 collection was a statement of this. Restrained in silhouette and styling with minimal, everyday makeup and a relatively paired-back palette of muted grey, blue and beige, the collection was given punch with pops of tartan and scarlet. Westwood appropriated her own archive, with references to past collections in the mini skirts, double-breasted suits, crinoline shapes and sweetheart lapels. This was a refined luxury; a statement of power and purpose with Westwood’s habitual attention to detail and a focus on flattering the woman above all else. Amidst the theatrics of other shows this season, this show had refreshingly little to prove. Westwood is an effortless master of her craft.


Mary Kantrazoukantrazou

Mary Katrantzou’s AW14 collection was a beautiful tribute to symbols; from heraldic emblems to Art Deco patterns, love-hearts and men’s-room signs. Layered intricately over simple column shapes, with fabric in muted but rich colours draped and pleated with a careful simplicity. Katrantzou’s star has itself been long-rising in the fashion industry and with this collection, she managed to affirm her design aesthetic once again whilst side-stepping the digital print technique that threatened to define her brand. The clothes in this show possessed what has always been essential to her work- a staggering craftsmanship that she fuses with her thoroughly modern vision. She simply knows what the woman of today wants to wear and, season upon season, she delivers it with an unexpected twist. The symbols and signs so deeply interwoven into this show will no doubt filter out in accessories and prints over the coming months, whilst the clothes had a classic shape and subtlety that will do well on the red carpet. Yet another triumph for Katrantzou.


Jonathon Saunders


Jonathan Saunders’ AW14 collection was a tour de force of jarring print, colour and texture. It kind of felt like it shouldn’t have worked but somehow he nailed it. The sheer maximalist intent of the collection brought a raw energy to the runway, with oversized detailing in collars and sleeves allowing for an awkwardness of proportions that played into the extremity of each look. Loose shapes and clean cuts balanced out the volume of print and colour, whilst the styling played off fuchsia and raspberry shades with cool camel and grey. By experimenting with textures early into the collection, the incorporation of a wide range of textiles- from furs and wet-look fabric, to textured wool and quilted silk- did not feel uneven or excessive.  In short, this collection was complex but clean, with a beautiful attention to detail and fresh experiments with textile and pattern. Saunders continues to refine his aesthetic, building upon his label signatures but not conforming to them.




Ashish’s shows are always full of energy and his AW14 collection proved to be no different. In what can always be expected to be an electrifying, flamboyant affair, he didn’t let us down. A pink disney-girl dress complete with sparkling tiara opened the show – setting the bar for the colour theme throughout. The glittering show was a love affair with pink, baby blues, gold, black and holographic silver. Blinged-up, form-fitting tracksuits made their appearance, alongside ‘princess-style’, full-skirted gowns, ruffled and ragged denim looks, plus jazzy sparkled jogging bottoms and bomber jackets. Ashish is an expert at taking the ordinary and making it extraordinary and in a sea of minimalism, seeing a designer staying true to their aesthetic when it may not be the ‘in’ style is to be applauded. Ashish’s girls are party girls who are in love with life – what’s not to love about that?


Nicole Farhi


Nicole Farhi staged her A/W presentation on a Sunday morning at  29 Portland Place, a beautiful property with pastel-coloured walls and high windows. In this way, it provided the perfect setting for Farhi’s light, laid back collection. Models walked on loop, striding through the crowd in silk palazzo pants, pale pastel-coloured furs (sky blue and mint green), and minimalist separates cleanly-cut and loose-fitting. This was a relaxed luxury and it looked incredible; sophisticated and polished yet effortless and modern. Farhi has long specialised in this type of fashion- clothes that travel from home to boardroom to cocktail party- but this collection had a streak of experimentation. From coats and jackets in woven fur, to the quirkily beautiful colour palette, these clothes were eye-catching without being try-hard. And with the recent success of labels like Céline, Raf Simons and Marni, that seems to be the fashion gold for the designers and buyers of today.


Words by Will Ballantyne-Reid

First Look, LFW Day 5: Lucas Nascimento AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.


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Photography: Jean-Luc Brouard for FAULT Magazine

All Images are subject to  copyright

LFW Day 4: Ryan Lo AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.



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Photography: Jean-Luc Brouard for FAULT Magazine

All Images are subject to  copyright

LFW Feb ’14: Day 2 AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.


Sister by Sibling

We will move on from elephant in the room (shoes) to focus on what Sibling actually came to do – to bring us innovative and modern knitwear with a playful and fun edge. The styling of the collection felt gothic and 70’s with large wide-brimmed fedoras, long hemlines and crocheted capes. The knitwear ranged from the intricate and spidery knits to the more wearable pieces such as the thicker knitted sweaters, jackets and the crocheted skirts. This was a brave and adventurous collection for Sibling and it’s success now depends on the interest and sales generated, despite the obvious setbacks the catwalk show faced.

Words by Rachel Holland


J.W. Anderson jw

This was an interesting one from J.W Anderson – a designer who’s aesthetic and fashion status is increasingly on the rise. In this collection there were strong silhouettes in the shape of high necks, wide sleeves, pleated / draped mid-calf hemlines, low necklines, huge obi-style belts and large funnel-necks. The fabric felt raw in parts and luxurious in others with a few subtle prints and some textured fabrics to add variation. The pieces themselves were more like sculptures than wearable clothes and the whole collection felt more like an art show than a feasible commercial collection. Although we are big JW Anderson fans, we’re holding out for next season.

Words by Rachel Holland


Richard Nicoll nicoll

Nicoll’s collection felt strongest when he stuck to the signature colour of the collection – royal blue. With panels of royal blue scattered throughout the looks, with dipped blue panels screen-printed onto denim or in outfits of head to toe blue, or just peeping out from under an oversized shirt. Then even sometimes it could be seen simply in the shoe that the model was wearing, then the result was uniform, well thought-out and strong. There were smatterings of pink, gold and red used in the collection also, but these faded away against the blue pieces that we’d seen earlier. The grey items, although helping to create balance, again seemed to fade into the background in contrast to the boldness of the blue. The blue was also unexpectedly seen in textures of sequins, metallics and sheen, it reminded me of a day in the Majorelle gardens of Yves Saint Laurent in Marrakech, with the sporty vibe of a ski resort and some classic british ladylike chic thrown in for good measure.

Words by Rachel Holland


Holly Fulton  holly-fulton Holly Fulton knows the woman who buys her clothes. Season upon season, she has a clear design identity and her latest collection was yet another expression of this. Opening in pastel shades of robin’s egg blue and blush, the clothes had a lightness to them, with sheer fabrics, dropped waists and an easy prettiness. As the show progressed, embroidery and appliqué allowed for an interesting play of texture, whilst ornamental detailing was rendered in Art Deco designs that felt, if not fresh, at least young and feminine. As the palette became richer, with black and dark rose pink introduced for separates and inserts, a faint houndstooth print gave the collection more range without losing the lightness of the opening looks. Some of the looks with drop-waists, pastel prints and bejeweled necklines seemed to take a bit too much reference from Prada collections of the past, but Fulton has a design aesthetic all of her own. Was it groundbreaking? No, but the buyers- and her clientele-will be happy with this season’s results.

Words by Will Ballantyne-Reid


John Rocha rocha John Rocha’s autumn/winter 14 show kicked off with a rock soundtrack and dramatic outfits but it stayed true to the romanticism that we all expect from the veteran London Fashion Week designer. Ginormous ruffle collars, tiered dresses and multi-layer skirts were made for fun and frolicking and there were no prizes for spotting that flowers were the central inspiration point. Petal-like headpieces cocooned the models and A-line cocktail dresses were dotted with individual flower heads. It was toughened up with a strong black, rose red and bottle green colour palette for the darker months and rough textures were created with netting, lace and crochet. Unfinished seems hinted towards an arts and crafts aesthetic too.

The frills and flounce were intertwined with currently popular styles such as loose-fitting palazzo pants and oversized coats for a collection that was, overall, a steady but beautiful transition into the new season.

Words by Olivia Pinnock


Palmer Harding palmer-harding

I remember meeting Palmer / Harding during their first ever London Fashion Week season a few years back, where they were showing on a stand inside of Somerset House. Their focus was the humble white shirt, which they executed perfectly with absolute clarity and obsession. I remember thinking to myself  ‘watch this label’, because the attention to detail was so acute and the designers themselves some of the nicest people that I’ve met in fashion. Now here we are, menswear and womenswear wrapped up under the Palmer / Harding label and a runway show in full swing. They’ve remained true to their roots, with the shirting and various aspects of their tailoring aesthetic, used throughout in the pieces. A minimal style carried the more complex pieces through the collection and a restricted colour palette was a smart move in terms of commercial success. My favorite look was the white ‘tasseled’ skirt suit that was both a nod to the labels past and then to their future.

Words by Rachel Holland


House of Holland hholland

House of Holland, to me, sums up young British style. It’s quirky, it’s playful and very tongue in cheek. This new AW14 collection felt more grown up in parts than his previous seasons, with full silk skirts, some sophisticated dresses and then a few dressy shirt / top combo’s. Then there were the pom pom shoes, the backpacks and the slogan / provocative t-shirts, plus cutesy prints for more of a nod to Henry’s signature, fun style. Has the Henry Holland girl grown up? No. But in a sea of minimalism with everyone following strong silhouette’s this season, it’s nice to see someone not afraid to let rip and enjoy themselves. And isn’t that really what British style is all about?

Words by Rachel Holland


Pam Hogg


Pam Hogg’s collection was a political affair: models opened the show with placards declaring it a dedication to Pussy Riot, no pieces from it are for sale, and even the PR girls wore t-shirts emblazoned with ‘Pussy Riot Rule.’ As the show unfolded, it ran with a current of anarchic energy- from the riot of colour, the subversive model choice (East London fashion-kids Andy Bradin and Josh Quinton amongst others) and the soundtrack of protest anthems and punk tracks. Aside from this political punch, Hogg’s designs made a real statement of their own. Allowing herself to breakaway from the metallic jumpsuit that has become her label trademark, some looks took on a New Romanticism with rose embellishment, ornate headpieces and full-scale ballgowns that combined intricate detailing with a punk spirit. This show was an event- a protest, a celebration, a show of support (with Simon LeBon, Stephen Jones, Rankin et al. in attendance.) Even without the political message at the heart of the collection, the clothes could have stood alone. But in publicly paying tribute to Pussy Riot- in a collection entitled ‘Courage’- Hogg’s designs took on a special significance and made a sincere statement of allegiance.

Words by Will Ballantyne-Reid


First Look, LFW Day 3: Nicole Farhi AW14

FAULT‘s fashion team hit the catwalk shows and backstage at London Fashion Week (Feb ’14) to bring you our favourite pieces from the Autumn / Winter 2014 shows. Stay connected – on TwitterFacebook or right here on FAULT Online – for our round-up of the designers and trends that we have our eye on.








Photography: Miles Holder  for FAULT Magazine
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