FAULT Issue 10 DEMO

F F A A U U L L T T

SPRING Spring 2012

Adam Lambert This is your FAULT

The Legacy Issue This is your FAULT

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The FAULT

legacy

COVER / Adam was photographed by Miguel Starcevich.

See the full story starting on page 113.

PHOTOGRAPHY / Image by Lindsay Adler.

See the full story starting on page 83.

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contents / the legacy issue

contents 004 Contributors 006 Editors’ Letter 157 Directory 158 Last Word: Sanderson Hotel

FAULT Style 008 Cat Deeley 015 House of Vintage 022 Town Hall Hotel 023 Most Wanted: Kennett 024 New York Fashion Week 026 The FAULT Dressing Room 064 Fire and Midnight Sun 083 Rorschach 103 Fine and Dandy

FAULT Crossovers 028 It Girl: Clara Paget 034 Hattie Morahan 036 Persia White 037 Hustle and Phlo: Phlo Finister

FAULT Art

087 FAULT Focus: Marcel van der Vlugt 089 WOR Studios 151 FAULT Film: Into the Abyss

FAULT Men

094 Rico the Zombie 111 Sascha Bailey 113 Adam Lambert 122 Apocalypse Now: Billy Burke 128 On the Verge: Caleb Landry Jones 078 KAV 080 Nada Surf

FAULT Beauty

134 Ana Araujo 140 Veronika 143 Back to Basics 144 Crystal Reed 146 All That Glitters

FAULT Music 044 Phoenix of Grunge: WZRD 054 Julia Volkova 058 Band of Skulls 068 The Duke Spirit 071 Far East Movement 078 KAV 080 Nada Surf

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contact LONDON OFFICE Suite 7, 40 Craven Street London WC2N 5NG United Kingdom LONDON Publishing Director / Nick Artsruni PARIS Hans Weinheimer Ruth Kramer Kath Rutherford

NORTH AMERICA Editor / Leah Blewitt New York / Rachel Eleanor Sutton MUSIC Editor / Era Trieman Submit / music@fault-magazine.com FASHION Chief Stylist / Tallulah Harlech Editor / India James Editor / Millie Horton ART Art Director / Caroline Lawless

Subscribe to FAULT ONE YEAR (four copies) by air mail: UK £35 Europe €45 World €50 ONE YEAR online subscription via Zinio: UK £12 PHOTOGRAPHY / Images

by Lindsay Adler. See the full story starting on page 83.

ADVERTISING ENQUIRIES advertising@fault-magazine.com REPRESENTED BY Matan Uziel Managing Director Golden Heart Communications, Ltd. 3 ADAD STREET 85338 LEHAVIM, ISRAEL (M) + (972) 52 651-0012 (T) + (972) 8 629-1054 (F) + (972) 8 629-1054 matan.uziel@goldenheartcomms.com www.goldenheartcomms.com

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contributors / the legacy issue

contributors Lindsay Adler Ana Araujo Giuliano Bekor Leah Blewitt Michael Casker Leonie Cumiskey Cat Deeley Cristian di Stefano Frauke Fischer Tallulah Harlech Rick Genest Doug Gillen Gabriella Gonzalez Angela Hau Millie Horton Hordur Ingason India James Benjamin Johnson Charles Joulebine Caroline Lawless

Sarah Klose James D Kelly Anastasia Kudrashova Alexandra Leese Helen McGuckin Ahmed Mori Chris Purnell Emma Richardson Arcin Sagdic Patrick Schuttler Valerie Servais Miguel Starcevich Luke Storey Kai Stuht Rachel Eleanor Sutton Mairi-Luise Tabbakh Era Trieman Rebecca Unger Marcel van der Vlugt

special thanks Alice Bray Felicity Carter Primo Catalano Factory Studios, Brooklyn Stephen Lally Caroline Lawless Richard Massey Shavana Meresha Greg Miller Julian Ruiz Kat Rutherford Dustin Shepard Louis Sheridan Town Hall Hotel, Bethnal Green WOR Studios DISCLAIMER: FAULT is published quarterly four times a year. Reproduction is strictly prohibited without prior permission from the publisher. All rights reserved. Š Linveco Media Group 2011. FAULT Magazine™ is a registered trademark.

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PHOTOGRAPHY / Image by Lindsay Adler.

See the full story starting on page 83.

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Spring 2012 / The Legacy Issue

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editors’ letter / the legacy issue

THIS IS YOUR legacy What are you going to leave behind?

A

s we head deeper into the 21st century, we find ourselves living in a society that is supposedly becoming ever more connected. However, the myth of connectivity online transcends the fallacies of social media interaction. The Internet has brought about an age in which the most diverse of cultural phenomena can be brought to our eyes instantaneously. Whether it be classic British rock, New Wave, Punk, Grunge . . . it seems that recent history has been awash with discernible creative movements.

Our tenth issue is a landmark, and its content seeks to stand as such. The Legacy Issue examines whether, in this supposedly most connected and creatively open of times, our generation can genuinely be said to have established a viable creative legacy. In true FAULT style, we have scoured the globe for the talent of today who can hold up a candle to past and future generations.

First on that list is a certain Mr. Adam Lambert. Now that the issue is out, we’ll admit to a shameful secret: One of our editors was not in favour of Adam’s inclusion from the start. Now, before Glamberts start hurling bricks, let’s put that into context: It can occasionally be difficult to drop one’s blinkers in a creative environment which is so often saturated with mediocrity. That is particularly true when you are confronted with an artist who, firstly, is unashamedly”pop”, secondly retains such a strong visual element to his personal brand and thirdly—lest we forget—one who shot to fame through a reality TV show. Any doubts this editor may have had, however, were immediately wiped out by attending Adam’s London showcase during which he was privileged enough to hear what is undoubtedly one of the finest voices in live music—of any genre—in the world today.

It is sometimes good to cling to your principles. At other times, it is both refreshing and rewarding to embrace the evidence thrust before your eyes (and ears). When we at FAULT look at the legacy we leave behind, we can be proud to have featured an artist who exudes sheer talent— something that is perhaps a rarity in the current musical climate. We can only hope that the music industry at large looks to that example as a mould for the future.

As you might expect, our Legacy Issue is packed with talented musicians from around the world. Just as Adam is an international star, so too is the wonderfully talented

Julia Volkova, the Russian singer best known for her work with t.a.t.u.

Although it is easy to look back nostalgically at past glories, Julia is due to release her first single album later this year. Add that to some worldwide film roles and a potential Eurovision song contest performance, and it looks like Julia’s perennial star is on the rise once more.

We at FAULT are lucky enough to be able to work with some of the most respected names in the creative industries today. Consummate professional and global phenomenon Kid Cudi covers our music section in this issue—and we were pleased to also welcome his producing partner Dot Da Genius to discuss their rock project WZRD. Cudi is a multitalented musician who has collaborated with some huge names, and we jumped at the chance to spend time with him on set in Brooklyn, N.Y. Providing value for money is a huge part of what we do at FAULT—you will notice that every issue is packed with interesting material rather than inane advertising. We wanted our Legacy Issue to be the epitome of that and, as such, have included some of the most exciting creative figures from L.A. to London to Moscow and more. Band of Skulls are probably the greatest rock music act performing at the moment alongside the Black Keys, and we were delighted to secure an exclusive interview with lead vocalist Emma Richardson—both backstage before a gig and at her very own solo art exhibition. Cross-disciplinary talent is always revered in the FAULT office, so believe us when we tell you that Emma’s artwork has the potential to leave a legacy in its own right.

Add to that an exclusive first interview with “Londonerin-L.A.” poster girl Phlo Finister (the first female artist signed to hitmaker Odd Future’s record label), a first fashion editorial with “Like a G6” stars Far East Movement, and a stunning shoot to launch our upcoming collaboration with multi-talented artist Rico, a.k.a. “Zombie Boy”, and one could say that this is an issue of firsts for FAULT. You know that if it takes us this long to mention that FAULT Favourite TV star Cat Deeley graces our Style cover as part of a sizzling shoot in L.A., we’ve got a lot to be proud of. As far as we’re concerned, Cat’s legacy was already assured from the days that she used to appear on Saturday morning TV in the UK as the beautiful co-host (along with two Geordie morons we can’t quite remember the names of) of SMTV: Live.

And let’s not forget profiles of Caleb Landry Jones (star of X-Men: Origins and possessor of an acerbic wit), Billy Burke (of Twilight fame), and many more.

FAULT is all about diversity of thought and expression in the realms of creativity, but sometimes that in itself can be a hindrance to drawing out conclusions as to what the future holds for our artistic legacy. Just as Adam’s euphoric tones cannot be placed in the same category as Band of Skulls’s return to raw, blues-driven rock sounds, neither does WZRD’s measured, sensitive approach compare to Far East Movement’s wildly exuberant dance tracks.

Perhaps it is time we examined the idea that we are living in a super-connected world. Just because millions in the world are “connected” via social media on the Internet, doesn’t that just disconnect them from the world away from their computers? Perhaps that is also true for the arts.

At a time where any music, art, and information is available immediately and with little effort required other than to go online, does the sheer multiplicity of artistic work available mean that we cannot establish a coherent legacy? Perhaps, but we at FAULT believe that, on the evidence put before you in this issue at least, that is not necessarily a bad thing.

The problem with “movements” is that, while hindsight always casts a golden glow over the likes of the Beatles, the Clash, or the Stone Roses, the likes of the Dave Clark Five, the Worst, and The Clint Boon Experience—co-conspirators in their respective genres—are often (mercifully) forgotten.

We, then, are the generation of cherry-pickers— and we’re happy to be called that. We may not have the outfits, the badges, or the blind adulation of anything that emerges from any one genre, but are they any substitute for good taste?

We hope you like our picks for this anniversary issue of FAULT as much as we do. One way or another, please get in touch to tell us your opinions. Ironically enough, we’re always around on social media, so don’t hesitate to share your thoughts with us. We like to see this as our legacy, but we’ll always claim that what goes into each issue is your FAULT! Love from, The FAULT Editors

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STYLE

Spring 2012 / The Legacy Issue

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style / cat deeley

STYLE

PREVIOUS PAGE: WATCH by Rolex; CATSUIT by Wolford; SUNGLASSES by Burberry; RING by Pomellato.

THIS PAGE: WATCH by Bulgari; GLOVES by Roecki; FUR

by Schacky & Jones; CATSUIT by Wolford.

BLOUSE and SHORTS by Temperley London, RING

by David Yurman, SHOES

by Camilla Skovgaard, and ACCESSORIES are vintage.

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CAT DEELEY PHOTOGRAPHY / Dove Shore STYLING / Nicolas Bru at MMA MUA / Amy Strozzi HAIR / Sallie Nicole INTERVIEW / Chris Purnell

F

rom her humble beginnings as a teenage model to co-hosting the Saturday morning kids’ program SMTV Live in the U.K., Cat Deeley’s path has been on a steady upward trajectory for some time now.

Living and working in L.A. as the host of the reality dance competition So You Think You Can Dance (which has just gone into its ninth year), and with an Emmy nomination under her belt, Cat continues to garner critical and public acclaim. Writing from a British perspective, I wondered how she felt about living the American Dream, but I also wanted the real story on fellow English presenters Ant and Dec—who are now ubiquitous in the U.K., but virtually unknown in the U.S. On her episode of Ricky Gervais’s and Stephen Merchant’s Life’s Too Short, Cat makes a point of explaining how much she hates speaking about Ant and Dec to interviewers. Frustrated that I couldn’t ask her my Ant and Dec questions, I began our interview by asking her about the episode.

FAULT: On Life’s Too Short, you do mention you hate it when interviewers ask you about Ant and Dec. Did you come up with that line?

CAT: That was Ricky and Stephen’s line.

It was hilarious. They just wanted it to be as funny as possible while giving Warwick a lot of reasons to tell me off. I loved doing it. Ricky and Stephen approached me—I’m a big fan of what they do—I read the script, and I was literally laughing out loud. I really

enjoyed doing something a bit different, and they’re really great fun to work with.

Is acting something you want to pursue?

I did House of Lies with Don Cheadle too, but I don’t really see myself doing anything too dramatic like Schindler’s List or Sophie’s Choice. I quite enjoy a little bit of comedy. When I first started on TV, I did a show on Saturday mornings with Ant and Dec, obviously, and we did little comedy sketches in that. It was really good fun; I had such a laugh doing it, and it’s something I definitely miss. I enjoy moments when I can be a little bit indulgent, and I really enjoy taking the micky out of myself.

You began your TV career on SMTV in the U.K., and now everyone knows who you are. Was that part of a plan, or are things unplanned and you just see what happens?

It’s a bit of both. I always think the timing has got to be right; you’ve got to have a little bit of luck, but when luck comes along, you have to be able to grab it with both hands and turn it into [an] opportunity. The other thing is that, if there is something that does interest you or something that you would like to try, it’s about actually trying it. There was never really a master plan. It was never, ‘Right, what I’m going to do is, I’m going to go to America, and I’m going to live there for seven years.’ I never had that. I mean, I’ve still got my flat in London. It’s always something that I kept because I didn’t know how long I was going to

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style / cat deeley

BODYSUIT by Hervé Léger and ACCESSORIES by David Yurman. (BELTS are stylist’s own.)

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I like that the American Dream is still alive and kicking. be here, or if So You Think You Can Dance was going to work. I was also very aware that I was a British person on an American show, and that the American audience might not take to me. But the network was very, very supportive, so I kind of got left alone.

They all think I’m a little bit bonkers and an English eccentric, so I think they let me grow on people, and it seems to have worked. But there was a part of me that thought, if the show didn’t work, then I’m the big bad English scapegoat that’s going to be shipped back to our fair Isle. I didn’t know. You never know. You always take a risk.

Do you still have the fear of things not working out?

I think a little bit of fear keeps you hungry and keeps you working hard and wanting to succeed. I think that’s quite an important thing to have. Of course, there will be someone else who will come along and take my place— that’s just how it works. But for the moment. I am thoroughly enjoying it.

What is it about America that you found so alluring?

For me, it was just a case of adventure.

I’d never lived somewhere else before.

I’d lived in England for all of my life. I didn’t go to university, so I never went travelling or did any of that. I’d lived in Tokyo for a couple of months when I was modelling, but I’d never really had a proper adventure. Nigel Lythgoe

(executive producer and judge on So You Think You Can Dance) approached me about doing the show and asked if I would be interested. I said, ‘Let me come over and see if I’m right for it, and if it’s right for me.’ And I loved it! So I was like, ‘Okay, seize the day.’

I’d just split up with my boyfriend at the time as well, so it was actually quite nice to have something else to concentrate on. If I hadn’t split up with him, I may have reconsidered. But with no ties, I thought, ‘Well, if I don’t do it now, I’m never going to do it, so let’s have a go.’

Quite a lot is made of your personal life, most recently your possible relationship with Patrick Kielty. How do you feel about that kind of attention that comes as a byproduct of being famous?

You can’t just do the two hour live show that I do on TV and not expect it.

I’m paid very well for a little bit of my life, and part of that is to stay in shape and to look nice—well, “presentable”, let’s change that to “presentable”—and part of it is that people will be a little bit interested. But I don’t think they’re interested in a way where it’s the most exciting news on the planet. It’s just a little bit of gossip. I’m okay with it as long as it’s just a little bit. It’s part and parcel of the job, and it always has been, and it always will be.

You’re a new judge on the upcoming season of America’s Next Top Model. How was that?

I enjoyed it. It’s a bit weird, though, to

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be sat there and judge, because I’m a bit of a softy. But err—there was a bit of drama, which I think I was actually the catalyst for, and I wasn’t being mean, I was trying to be helpful.

Okay—let’s make some news right now.

What happened?

I can’t tell you! I’m sure I can’t tell you yet; I have to wait. The producers will kill me. But it was a full on . . . I actually felt really guilty.

You’re the worst tease in the world.

They’re going to sue me! I’m sure they’d sue me, otherwise—

You know what, I’m pretty sure they won’t.

I don’t know. Anyway, you’ll have to watch and find out.

So you’ve got So You Think You Can Dance, the Emmys, Live With Kelly, you were on CNN—are you living the American Dream?

Err . . . I hope so. I like the idea that the American dream is still alive and kicking. I like the idea that you can come from anywhere—come from any background, colour, creed, religion, whatever—and if you are prepared to work hard and you have a talent then you can be anything you want to be. I like that idea.

Is that American-specific, do you think?

Because we do hear that a lot. Can that only happen in America?I don’t think it only happens in America. There’s just a really strange feeling here Spring 2012 / The Legacy Issue

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