FAULT Magazine 10 year anniversary @ UNIT London with Bulldog Gin & Snog

FAULT Magazine 10 year anniversary event & Issue 27 launch

FAULT Magazine 10 year anniversary: FAULT Magazine director Nick Artsruni (left) with Issue 27 front cover photographer Jack Alexander (right)

FAULT Magazine director Nick Artsruni (left) with Issue 27 front cover photographer Jack Alexander (right)

We celebrated the FAULT Magazine 10 year anniversary in style with the likes of Rizzle Kicks’ Jordan Stephens, Rae Morris, Felicity Hayward, GIRLI, Dakota Blue Richards, Jonny Nelson and Sascha & Mimi Bailey at UNIT London gallery last week.

While the BULLDOG Gin sponsored bar served their signature gin & tonics (with a slice of crisp grapefruit on the rim) downstairs, guests enjoyed an exhibition of some of our favourite-ever FAULT shoots with the likes of Kylie Jenner, Usher, Ellie Goulding, Ben Barnes, Big Sean, Nick Jonas and Gary Numan. Well, we hope they enjoyed them, anyway!

Pride of place, of course, was our latest cover with Liam Gallagher. Shot by Jack Alexander, the front cover for FAULT 27: the Best of British Issue was the focal point for our showcase event that was catered exclusively by stupendous fro-yo trailblazers Snog and their brilliant new brand, Beltane & Pop.

The official ‘FAULT Magazine 10 year anniversary afterparty’ took place at Mahiki Mayfair…we think. To be honest, we weren’t quite sure where we were once our private section started overflowing with bottles of vodka and Mahiki’s trademark treasure chests!

Nick Artsruni with Jordan Stephens of Rizzle Kicks

 

FAULT Magazine editor Miles Holder with women’s fashion editor Rachel Holland

 

TV presenter Jonny Nelson

 

Felicity Hayward and Rome Fortune with Nick Artsruni

 

Presenter James Stewart at FAULT Magazine 10 Year anniversary event

 

Rae Morris

 

Dakota Blue Richards

Mimi Nishikawa-Bailey, Sascha Bailey, Nick Artsruni (l-r)

 

FAULT Magazine contributor Adina Ilie

 

GIRLI and friend (l-r)

 

Guests enjoy SNOG

 

 

Lucy Chappell with photographer Jack Alexander

 

Roxxxan with Nick Artsruni

 

Sophie Hopkins with Jack Alexander

 

Miles Holder with Melisa Whiskey

 

Model Alexander James

 

Model Chad Kuzyk

 

FAULT Magazine contributor Olivia Pinnock (centre, red hair) and guests

 

FAULT Magazine contributor Aimee Phillips

 

Some of the prints on display at the exhibition are available for sale.

 

Please contact us if you would like to inquire about any of the works listed below:

From left-right:

  • ‘Kylie Jenner for FAULT Magazine Issue 20’ – photographed by Lionel Deluy (black and white A0 canvas print)
  • ‘Ben Barnes for FAULT Issue 15’ – by Sinisha Nisevic (black and white A0 canvas print)
  • ‘Ellie Goulding for FAULT Issue 15’ – by Louie Banks (full colour A2 canvas print) – not for sale
  • ‘Usher for FAULT Issue 19’ – by Sinisha Nisevic (black and white A0 canvas print)
  • ‘Liam Gallagher for FAULT Issue 27 cover’ – by Jack Alexander (full colour foam board print)

 

  • ‘Nick Jonas for FAULT Issue 21’ – by Matt Holyoak (full colour A2 canvas print) – not for sale
  • ‘Kylie Jenner for FAULT Magazine Issue 20’ – photographed by Lionel Deluy (black and white A0 canvas print)
  • ‘Gary Numan for FAULT Issue 27’ – by David Richardson (full colour A0 canvas print)
  • ‘Big Sean for FAULT Issue 15’ – by Steven Gomillion & Dennis Leupold (full colour A2 canvas print) – not for sale

N.B: Where the works are not available for sale, we encourage you to contact the photographer directly!

 Special Thanks:

UNIT London Gallery

BULLDOG Gin

Outer Insight

Snog and Beltane & Pop

Mahiki Mayfair

Photographers on display: Lionel Deluy, Sinisha Nisevic, David Richardson, Matt Holyoak, Louie Banks, Jack Alexander

Amazing people who went above & beyond for us: Hermione Benest, Tim Lucas Allen, Vassilissa Conway

FAULT Team on the night: Miles Holder, Rachel Holland, Adina Ilie

This is your FAULT

 

FAULT Reviews – Casely Hayford SS16

 

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With references crossing motorsport, the 1960s and Asian art, everything was splashed with the Casely-Hayford touch of cool. To a soundtrack of hip hop and grime classics, the models swagged out in layered looks of loose-fitting, knee-length coats, oversized t-shirts and trousers cut slightly above the ankle.

Prints ranges from grained checks, to a busy botanical design to a repetitive ornate tile look. The colour palette was high energy with sporting red, cobalt blue and tropical green standing out against strong black and white looks. Skinny mod suits in bright tones, paired with oversized sunglasses were a good look for men who dare to stand out at the office, but the standout pieces were long, zip-up coats in high-shine fabric with symmetrical colour-blocking panels and padded sleeves, taking inspiration from life in the fast lane.

High octane and high on our list of looks to channel next spring!

Words: Olivia Pinnock

Zara Martin – exclusive Focus section cover shoot for FAULT Issue 18

 

Zara Martin - FAULT Magazine Issue 18 - inside Focus cover WEB

Zara Martin was shot in London by photographer Paul Whitfield and styled by Rachel Holland exclusively for the internal Focus section cover of FAULT Issue 18
Click here to order your copy of this issue!

 

FAULT Issue 18 Focus section cover star Zara Martin never misses a VIP party. In fact, she’s usually the one who keeps it going all night when she’s spinning the tunes from behind the decks for the international glitterati crowd. Zara is also a model and TV presenter and you’ll often spot her on red carpet style lists or sitting on the front row at fashion week presentations with her countless celebrity friends, including Tali Lennox, Caroline Flack and Miquita Oliver. For FAULT’s RAW issue, we looked underneath the glamour with Zara to discuss her hidden talents, charity work and what her younger self wouldn’t believe about her now.

FAULT: Which came first: your modelling or DJing?

Zara: I started doing some work for MTV back in the day when there weren’t so many girl DJs. So it was the music connection that helped with the DJing but I’ve always had a model agency. I’m not super tall so I never did any catwalk stuff, more commercial work, so all the cool opportunities came from the DJing. The shows that I do on TV are mostly fashion or music based as well.

It’s slightly strange that my first job was given to me by Al Gore. It was really random.

So you’re a model, a DJ, a TV presenter and you’re creating a line of headphones… do you have any hidden talents?

Well, I’m working on doing some acting at the moment. I went to drama school before I got into all of this but I never finished it. So in my spare time I’m taking classes and auditioning. I’ll be in LA for pilot season and I’ve just got the trailer through for a short film I worked on with Director Wayne Che Yip called Toledo. I have an American accent in it and it’s all really weird. It’s based on a Charles Bukowski poem called ‘For The Foxes’.

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Interview by Olivia Pinnock

What new music are you really pushing at the moment?

I’ve liked Angel Haze for a really long time and it seems like she’s just blowing up at the moment [Ed: FAULT Online featured her recently]. So I’m like ‘see I told you!’ I really like her, she’s just wicked.

Other than that, I love it when acts collaborate and do something a little different like the Iggy Azalea/Charli XCX track ‘Fancy’ is amazing and it kind of reminds me of old Gwen Stefani. I still love The Weeknd, he does this cover of XO by Beyoncé that’s really good!

There are so many good artists about at the moment. It’s hard to pick just one. ..

You also manage to fit in time to be an ambassador for Women for Women International

Women for Women are the most incredible organisation. I met Brita [Fernandez Schmidt], who’s the chairwoman in the UK, and I immediately vibed with her. You know when you just meet someone with such pure energy you just have to know more about them? She’s so inspirational. Every time I see her I feel like I’m not doing enough! So I wanted to get involved. At the moment we’re just working out the best way and I’m trying to get some younger people involved in the organisation and hopefully we’ll be doing some events this year. You’ll be hearing more about it soon.

Zara Martin - FAULT Magazine Issue 18 - inside WEB 2

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

What advice would you give your younger self?

Stop messing around and do some work! I wasted a lot of time in night clubs but I have no regrets. I don’t like to live my life like that.

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

Backstage at Berlin Fashion Week: DARE by Johny Dar

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Johny Dar closed the show at Berlin Fashion Week with his bold combinations of fashion design and body art

Artist and fashion designer Johny Dar closed Berlin Fashion Week with a spectacular 30 minute show of his work. FAULT spoke to the man behind the painted models…

FAULT: Congratulations on an incredible show, how has been the response so far?

Johny: The crowd clapped for three minutes, we had a standing ovation and people who were at the show definitely enjoyed it because it was a real show.

You opened and closed the show with some beautifully painted models, similar to your work on Tuuli Shipster [Rankin’s wife]. How has the artwork on these models continued on from your work on Dar the Book and the ‘Tuuli by Dar’ project? 

I was setting myself up for the biggest challenge of my career by promising to paint 11 models and three performers in one day before the show, when my work with Tuuli took anything between 6 to 12 hours to create each look, and the images from DAR the BOOK came from a journey of over five years. So for this show I had to come up with a technique where I didn’t have to sacrifice the detail and potency of my style that really comes through in Tuuli by Dar, but where I was also able to get it done within the 16 hours right before the show. The body is split into two halves, which in this case represented the masculine and feminine aspects within the body.

Johny Dar's SS ' 15 show took place at Erika Hess Eisstadion on July 11, 2014 (Photo by Peter Michael Dills)

Johny Dar’s SS ‘ 15 show took place at Erika Hess Eisstadion on July 11, 2014 (Photo by Peter Michael Dills)

Did you face any challenges? 

Well, put it this way, by 10 o clock in the morning I was supposed to be done with the first layer of the models, but by 10 o’ clock I had a leg and a half done and only 4 out of 11 models had showed up. Really the show was overcoming challenges until it ended – until the last second everything was on the verge of collapse and somehow we made it through.

Talk us through the idea behind the incredible hair pieces they were wearing in the opening?

I wanted to create a veil out of the human body – out of an extension of the human body – so naturally what came to mind was the hair as that veil to hide behind and show as much as you are comfortable with. For me there is nothing more mysterious and sexy than flowing hair.

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What thoughts were you trying to express with the clothing? It felt very tribal and earthy to us. 

I’m glad that’s how you see the collection. So far we have been attracting a great variety of reviews on the fashion which is great because I wanted it to be free from any defined style, so naturally it invokes variation in the reviews.

What I showed in this collection is basically different ways to wear your sexuality and sensuality as an empowerment, because I believe that those aspects should really empower the feminine not make her into a sex object or a material possession.

This collection was meant to be a journey through the various aspects of security and insecurity within the feminine experience – like not having big enough boobs so stuffing the dress with mesh, or being sick and tired of it all so just wearing an elastic band. It was meant to show the difference between overwhelming yourself with an outfit and letting your wings take form through your outfit.

Photo by Frazer Harrison

Photo by Frazer Harrison

Tell us about your production choices for music, lighting and graphics. 

I definitely didn’t want it to be what fashion is today, which is another fast food order – super size it, double cheese it, give it to me in the pink wrapper instead of the blue wrapper for the season. I’m sick and tired of the same old show.

I wanted to show the symbiosis between music, art and fashion and how they are just the same person in different roles, in different outfits, in different expressions. Because, after all, it was meant to be an original experience beyond selling clothing.

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Backstage with Johny Dar as he does his body painting on the models

You’ve said this was a prelude to your couture collection next season, any hints as to what we can expect from that? 

If you are looking at the body painted part of the show you can imagine high-end couture ski-suits next. The laser cut out pieces – you can expect maybe a 3D head to toe dress showing off a million colours.

With the coming couture collection I’m introducing a new idea for couture, a new concept for design in relation to the body, and how we can reintroduce our relationship towards clothing and creating our image. So it’s designing from a body perspective rather than imposing an idea or concept upon the body.

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For more, visit:

www.DARtheBOOK.com
www.facebook.com/DARtheBOOK

www.twitter.com/DARtheBOOK1
www.instagram.com/DARtheBOOK

Words: Olivia Pinnock

Lee Roach – LCM SS15

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Minimalist and muted: next season is nothing short of what we expected from Lee Roach. A

utilitarian vibe shone through with subtle suitcase straps as belts and harnesses and waterproof

parachute fabric, appealing to Roach’s customer-base of no-nonsense, practical fashion thinkers.

The lighter fabrics, also including linen, kept it cool for the warmer months whilst sticking to Roach’s

usual attention-shielding colour palette which, for spring/summer 15, covers khaki, navy and white

with splashes of sporting red.

 

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Silhouettes were slim and uncomplicated, tailored close to the body and collarless. Vests (including a

number of string vests) were cut in close on the shoulders, flashing a little muscle, in contrast to the

hoodies and detachable hoods that many of the models sheltered under. A new nod to using slogans

appeared on a few pieces with ‘LRSS’ in bold type across t-shirts and ‘protect’ stamped across a vest,

bringing home the message of a collection designed for an all-weather terrain.

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Words: Olivia Pinnock

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

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

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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

 

FAULT Focus: artist Johny Dar on body-painting Tuuli Shipster (Rankin’s wife)

After deciding to pursue a career in art in addition to his existing, eponymous fashion line (DAR), American artist Johny Dar decided that the the next logical step in his career would be to bring his latest body of work to life by physically painting it on a live canvas – the body of model and actress Tuuli Shipster.

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It took Johny five years to create his work Dar the Book – a collection of intricately patterned images expressing themes of femininity, female emotional intelligence and our obsession with female nudity – and between six to 12 hours to paint a simplified version of it on to Tuuli’s body. In total he did this 12 times to create a calendar of his work, shot by renowned fashion photographer Rankin (Tuuli’s husband).

We sat down with Johny to get a deeper understanding of his creative process.

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FAULT: Where did the journey of creating Dar the Book begin?

Johny: It was a personal journey about my own issues of understanding womankind. It was a curiosity of having a better understanding of that female side of me.

You have said that “a true artist is a messenger of their inner voice”. What elements of your inner voice are in Dar the Book?

It’s my quest to undress the physical body down to its emotions and intuitions. I surprised myself with realising I could interpret what is behind what is shown in a moment.

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How difficult was it to recreate this on a human body?

Doing it on the body, I only had time to paint. I couldn’t think about what I was doing. I had to go with the intuition of the moment and I wanted to bring out the four elements of earth, water, wind and fire as well. With the experience of having a direct touch, I had to bring it out naturally, without thoughts of what looks good. It was a challenge as well because of the time restriction; I couldn’t do much else but paint. I was passionate about doing it though.

Why was Tuuli the perfect model for it?

She was very patient and very receptive, she went through an emotional journey with it too. There’s not a character that we created that didn’t already exist within her. With each of the different colours, it was embodying and reforming her personality. I wanted to show a spectrum of the rainbow and a spectrum of the emotions in a woman.

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Do you have a favourite image?

That’s hard because it’s about what colour you choose to focus on. It changes depending on your mood.

Which colour are you focussing on today?

Today I like the red woman because it’s Monday and I need all the fire possible to get me through the week. It’s also quite cold today.

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Was this your first time working with Rankin?

Yes, he was there watching during the whole process. I never specified what I was doing to him but it gave him an understanding of the character. His direction of the shoot brought it to a wider audience.

You started out as a fashion designer, is fashion something you want to explore with your artwork?

That was the beauty of working with Rankin, it gave it that fashion aspect. This has been an introduction to what I’m doing next in the project which is to create second-skin bodysuits. I’ve been developing this for a while. They’ll be very similar to what I have done with Tuuli but with more intricate designs.

What do you want people to take from the project?

Going about this style and the calendar and the other projects, it has to be able to introduce a new medium, a new way of seeing. I want it to merge inspiration across fashion, art, music… It was my hope for others to find new expressions.

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Dar the Book will be released in six volumes, the second is released now with the final volume expected in 2017. The Tuuli by Dar calendar is available to purchase now via Amazon

Words: Olivia Pinnock; Photography: Rankin