This is your FAULT
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tHe rAw iSsUe EuClId aLoNe hAs lOoKeD On bEaUtY BaRe Euclid alone has looked on Beauty bare. Let all who prate of Beauty hold their peace, And lay them prone upon the earth and cease To ponder on themselves, the while they stare At nothing, intricately drawn nowhere In shapes of shifting lineage; let geese Gabble and hiss, but heroes seek release From dusty bondage into luminous air. O blinding hour, O holy, terrible day, When first the shaft into his vision shone Of light anatomized! Euclid alone Has looked on Beauty bare. Fortunate they Who, though once only and then but far away, Have heard her massive sandal set on stone. Sonnet from The Harp-Weaver and Other Poems by Edna St. Vincent Millay (1923)
Untitled, mixed media on paper Paul Goesch, 1885 - 1940
Paul Gösch (1855-1940, often Anglicised as Goesch) was a German artist widely regarded as belonged to the Art Brut or ‘Raw Art’ movement. The term refers specifically to artists who were self-taught or otherwise considered to be ‘outside’ the mainstream artistic community, and its proponents were also frequently marked as those suffering from mental illness. By all accounts an intellectual who took a keen interest in a variety of academic fields, Goesch turned to art after his long battle with schizophrenia eventually left him unable to continue his work as an architect. After becoming institutionalised, he was eventually murdered by the Nazis as part of their Action T4 euthanasia campaign. This untitled work, an almost architectural take - with shades of pointillism - on a minimalist portrait, comes across as less of a study of any given individual and more of a reflection on the essence of personhood. This piece, and others by the same artist, can be found at Galerie Susanne Zander (Berlin & Cologne). http://www.galerie-zander.de
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contents / masthead
1 OPENER 2 CONTENTS 3 MASTHEAD 4 EDITORS’ LETTER 160 DIRECTORY
STYLE 6 DANNII MINOGUE Down under designer darling. 15 LYDIA HEARST Renaissance woman. 22 COLOUR ME IN FAULT’s fresh fashion fancies.
114 SPRING/SUMMER STUDIES IN PURPLE
FOCUS 120 ZARA MARTIN 125 SXSW The equaliser of festivals or an inside look at music and entertainment’s corporate machine? 130 ART14 ART FAIR
27 STRIPPED BACK SOLO
32 BASIC INSTINCT Bold, brutal, brittle.
136 RYAN TEDDER Art vs the Machine.
41 RUGGED LINES
143 EXAMPLE Finally living the happy life.
47 BLUE IS THE WARMEST COLOUR 54 HATE ME # I LOVE YOU 62 DREAMING IS FREE
MUSIC 70 PIXIE LOTT Made for This. 79 CORINNE BAILEY RAE The Heart Speaks in Whispers for the soulful British singer currently recording her long-awaited third album in LA... 84-91 SOUNDS OF 2014 84 ELLA EYRE The big yound talent with big hair. 89 ALPINES 91 MARIE NAFFAH 92 KEEP IT SIMPLE
BEAUTY 96 SPLISH SPLASH 104 BOYS AND GIRLS Girls who are boys, who like boys to be girls...
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150 STROMAE The Belgian solo artist has a strong belief in the notion that there are two sides to every story... 155 THE END OF THE LINE? 159 HOBO CHIC
PUBLISHING DIRECTOR Nick Artsruni
DEPUTY EDITOR Rebecca Unger
ART DIRECTOR Stel Bekiros
ONLINE/GENERAL FEATURES Miles Holder Will Ballantyne-Reid Chris Purnell
MUSIC Era Trieman CONTRIBUTORS Adi Admoni Diana Andreea Gerard Angelo Liis Anton Louie Banks Frankie Batista Hannah Beck Danyul Brown James D Kelly Lionel Deluy Cristian di Stefano Stefan Giftthaler Simon Harris Tracey Lee Hayes Alessandro Jacobone Maya Krispin Vic Lentaigne Reno Mezger Kell Mitchell Marika Page Catharina Pavitschitz Kulli Pibar Suzi Rezler Kat Rutherford Katrina Sheiles Louis Sheridan Rachell Smith Packard Stevens Alex Szabo Luca Termine Tomaas Amberley Valentine Christian Vermak Patricia Villirillo Roger Weiss Paul Whitfield Woland
FASHION-WOMENSWEAR EDITOR Rachell Holland FASHION-MENSWEAR EDITOR Kristine Kilty PARIS EDITORS Hans Weinheimer Ruth Kramer
SUBSCRIBE TO FAULT 1 year = 4 issues (via air mail) U.K. £35 Europe €45 World €50 1 year online (via Zinio) U.K. £12 MUSIC SUBMISSIONS firstname.lastname@example.org ADVERTISING ENQUIRIES email@example.com
NEW YORK EDITORS Nancy Lu Kee Chang U.S. STYLE EDITOR Avo Yermagyan SPECIAL THANKS Leah Blewitt The Hoxton Hotel Malmaison Hotel, London Hendon Hall Hotel DISCO Club, London LONDON OFFICE Suite 7 40 Craven St. London WC2N 5NG United Kingdom
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edItOrS’ leTtEr “...what is this quintessence of dust?” (Hamlet, Act II Sc2; W. Shakespeare, early 17th C)
rom the moment Hamlet opens his lips to Rosencrantz and Guildenstern to reveal that their questioning him has betrayed their deceitful intentions, the audience can feel a change in tone. The mood of the scene stumbles suddenly as this exchange between former peers missteps its previously playful blank verse format and falls pointedly into straight prose. It is almost as if the trivialities and trappings of the stage no longer exist for Hamlet. His words, like his manner throughout the play, transcend convention. They are no longer meant for his erstwhile friends – they are meant for us, witnesses to this cyclical tragedy that is human existence... The problem with popularizing philosophy, the arts and what many would consider the finer points of cultural achievement is that throughout history, humanity, as a species, has so frequently opted for the easy answer. “What’s beyond that clearing?” “Nothing – that’s the edge of the Earth.” “Why am I sick?” “ Because our deity commands it.” “I don’t want to walk!” “Put a motor on wheels and sit down instead!” An ironic over-simplification, perhaps, but there is some truth in it – just as there is often a kernel of truth in many of the aforementioned ‘easy answers’. Nihilism, a concept that Hamlet’s existentialism preempts, holds at its core the understanding that there is nothing to believe in. It is easy to dismiss it as a demoralizing notion and, yes, there is some truth in that simple judgement. Anyone who chooses to sneak a peek behind that forbidding black door, however, might be shocked by what they discover. Hamlet’s “quintessence of dust” speech is depressing – there’s no escaping that. It is the sign of a man at his wit’s end (whether you choose to interpret that literally or otherwise), the raw outpouring of emotion from someone who feels hamstrung by the pangs of grief and the futility of life. But within that melancholy, even in the deepest pit of despair, lies a type of redemption. The perhaps subconscious realisation that even if humanity is nothing to be delighted about, even if all the pinnacles of human and biological achievement, hopes and desires, dreams and successes – even if the sum of all these are worth nothing more than a series of bad smells on a breeze then one
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thing still cannot be denied. If we are all nothing more than a speck of dust on a well-trodden stage then, at the very least, we are the best fucking dust imaginable... FAULT’s RAW issue reflects on the nature that underpins our society. The fact is that anyone can dress up a doll on a stage, pull a string and make it sing. For this issue, we spoke to artists across the board of popular culture about what it means to be them – that is, the person that occupies their skin away from the camera flashes and spot-lighting. The imagery we shot for FAULT Issue 18 is a contrast between our usual high fashion editorial style and a more stripped back, vulnerable reflection on the person rather than the performer. The brief we used for defining the latter mood was not easy to pin down. How can you define the essence of being? How can you pin down, at a raw, atavistic level, the nature of one of your closest friends, let alone someone you barely know? A little tip for all you budding creatives out there looking to submit photography for publication. We don’t take any credit for this, by the way – that has to go to the writers of HBO’s ‘True Detective’. It’s a fantastic, tingling, atmospheric series that is also filled with poignant commentary and great dialogue. In one example of the latter, Detective Rustin Cohle (played by a superb Matthew McConaughey) discusses his interrogation technique with his partner: “You look in their eyes, even in a picture... you can still read ‘em.” It is something that we, as editors, look out for in any shoot; whether we’re planning a feature or receiving a submission. Creative people as a whole are good at hiding things – lying is a creative act, after all. When working on any given project where we don’t know the protagonists, that is the first place we look. When browsing this issue, we advise you to do the same. Once again, in working on this issue, we were lucky enough to meet some genuinely world class talent currently treading the gamut of the creative industries. From our cover stars, Pixie Lott and Dannii Minogue, to our Men’s section’s primary protagonists – Ryan Tedder, Example and Stromae – these artists’ raw ability to take their
talents and create so much more from them is nothing less than an inspiration in and of itself. Everyone in this issue has shown his or her capacity to reinvent themselves as time goes by. We describe Lydia Hearst, for instance, as a ‘Renaissance Woman’ in tribute to her wide-reaching oeuvre of work. From modelling to acting to writing and now, it seems, to producing as well, Lydia is a fantastic example of the successful modern-day creative in that she refuses to be pigeon-holed and is never content to simply rest on her laurels. In the same vein, Dannii Minogue’s incredible career has seen her win acclaim for her work in music, television, fashion and more. Ryan Tedder has turned his hand to songwriting for a huge range of artists in addition to revelling in his status of master hit-maker with his own band, OneRepublic. Stomae, of course, has his relatively new creative venture, Mosaert, which is currently focusing on its fashion designs. As if to prove a point (coincidence? I think not!), our shoot with the ‘Alors On Danse’ singer features him wearing a number of products from his own label. It is testimony to the fact that, regardless of their disparate achievements, their many faces and wide range of talents, the people we choose to feature in FAULT are just that – people. The Raw issue goes beneath the PR fluff and bluster and gets to the heart of what is important to these people; it investigates and showcases the personal projects that they often pour their hearts into. It is something that gives us hope for the future of a society that so often looks to accept the simple explanation or take the easy way out: here are people who have the world at their feet, people for whom it would be so easy to sit back and do nothing. Instead, they have grasped their opportunities to become more than what they were. But never mind all that: surely, when all is said and done, all of us are just dust? Believe that and you’ll believe anything. This is your FAULT.
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Silk top by Nicole Farhi, cropped tailored jacket with contrast panelling by Jean-Pierre Braganza, pleated circle skirt with pocket detail by Jean-Pierre Braganza, celeste natural ivory padded bra by Simone PĂŠrĂŠle, white large brimmed hat by Keely Hunter Millinery.
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Marriage white plain cotton dress by Viktor & Rolf.
N I DAN I DOWN UNDER DESIGNER DARLING
MINOGUE words NICK ARTSRUNI interview LOUIS SHERIDAN photography JAMES D KELLY fashion editor RACHEL HOLLAND hair & makeup CHRISTIAN VERMAK styling assistant KATE ADAMS nails CATHERINE HOPKINSON for GLENIS BAPTISTE Thanks to The Hoxton Hotel, London
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BASIC INSTINCT BOLD, BRUTAL, BRITTLE
photography AMBERLY VALENTINE photography assistants EMMA GIBNEY JOSE MONTEMAYOR stylist HANNAH BECK photostylist’s assistant JOANNA MULCARE makeup LUCY GIBSON @ PHAMOUS ARTISTS hair ERNESTO MONTENOVO @ PHAMOUS ARTISTS model TAMAR HIGGS @ BODY LONDON set GIZ HITCHCOCK digital operation JACOB SCHUHLE-LEWIS post production HAPPY FINISH With special thanks to Flash Film Studios
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This page: Top by Pam Hogg Trousers by Lacoste Opposite page: Dress by Charles Lu Shoes by Gareth Pugh x Chrome Hearts
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basic instinct Neck piece by Asher Levine
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Jacket by KTZ Trousers by Ground Zero Shoes by Hexa by Kuho
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hate me # i love you
H A T E #
L O V E Y O U
photography ROGER WEISS fashion consultant ALESSANDRO JACOBONE @ 247FASHIONCONSULTING photography assistant VALENTINA DE’ MATHÀ CAMILLA MERATI stylist DIANA ANDREEA stylist’s assistants LAURA GUILDA KROTE GIULIA METERANGELIS GLORIA RUSSO hair MARCO MINNUTO @WM MANAGEMENT makeup ROMAN GASSER @WM MANAGEMENT models ELANA MITYUKOVA @FASHIONMODEL KRISTIN @JOYMODEL ANNA RUDENKO @WOMENMANAGEMENT NAVARRO @FASHIONMODEL Special Thanks to Studio Soldano
Dress by John Richmond Tights by La Perla Shoes by John Richmond Hat by Borsalino Bag by 11 Corso
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Left: Jacket by Philip Plein Shirt by John Richmond Pants by Costume National Sandals by Anteprima Belt by Calvin Klein Right: Shoes by Sergio Rossi
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Bodysuit by Playful Promises, jacket by Pretty Little Thing.
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Cardigan by Damsel in a Dress, vest by Ong-Oaj Pairam, shorts by Moschino, rings by Tessa Metcalfe.
MADE FOR THIS British pop singer Pixie Lott shares details of her new album, her childhood dreaming of stardom, and beauty in our tabloid world. words CHRIS PURNELL photography SIMON HARRIS stylist MARIKA PAGE stylist’s assistant LIDIA SPOTO
ixie tells me that there is nothing wrong with getting old: “I think it’s lovely to age naturally and gracefully.” Her sentiments don’t change when I tell her that Botox can now be done in one’s lunch-break from the office. Of course, beautiful 23 year olds who date male-models often hand out these platitudes in the hope that young girls and older women ignore what the see in magazines and find some sense of inner piece with how they look. In Pixie’s case, though, you can tell that she really believes it. “Beauty comes from the inside out,” she says. “If you are feeling good on the inside and give out love and kindness then it does show, and it makes you look and feel more beautiful.” As she reflects on the fact that if she looks anything less than perfect then it is huge tabloid news, she says, “I try and stay oblivious to that. If an outfit doesn’t look as good as perhaps planned then you can still work it and have a fabulous time.” With her eponymous, self-centred third album just around the corner, Pixie certainly seems set to enjoy her time in the sun. I was wondering how it feels as a musician to have so many other aspects – particularly your fashion and beauty choices sometimes overshadowing your chosen mode of expression?
I always want my music and live shows to be the most important [thing], as that means the most to me. There is no better feeling for me than SPRING 2014 | RAW 73
boys and girls Louie Banks Latex garter by Atsuko Kudo Corset by Sian Hoffman Robe by Tessa Edwards JonBenet Lace bodysuit by ID. Sarrieri Robe by Tessa Edwards Necklace by Vicki Sarge
Girls who are Boys who like Boys to be Girls Who do Boys like they’re Girls Who do Girls like they’re Boys Always should be someone you really love... Lyrics by Damon Albarn for Blur’s ‘Girls & Boys’ (1994) photography LOUIE BANKS photography assistants THOMAS DHANENS, CHARLIE COINCOIN styling SOKI MAK styling assistant ELIZIBETH POPAJ makeup ADAM BURRELL using MAC COSMETICS, grooming by BUNNY HAZEL CLARKE and HEIDI NORTH nails AMY ATKINS hair OSKAR PERA at CAREN AGENCY for THE DRAWING ROOM SALON using ORIBE hair assistant HECTOR PERA
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Lou Bones Hat by Hasan Hejazi Latex gloves by Kimberlicious Latex-‘Mystique’ suit by Hasan Hejazi
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boys and girls Ash Stymest Latex braces by Libidex Latex trousers by Libidex
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Tschan Andrews White brim hat by Keely Hunter Earrings by Persy Dress by Sorcha Oâ€™Raghallaigh Pants by I.D. Sarrieri
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Tshirt by Ice Iceberg Shirt by T.LIPOP Trousers by Samsøe & Samsøe Shoes by Sandro Socks by Muji
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Shirt by Ann Demeulemeester at WWW.MRPORTER.COM
RYAN TED DER ArT Vs tHe mAcHiNe words CHRIS PURNELL photography KELL MITCHELL photography assistants LEO WILLIAMS, ALEX FINN styling PATRICIA VILLIRILLO makeup MICHELLE WEBB styling assistants FABIOLA MURUETA, ROBERTA PINNA hair CARL CAMPBELL using TONI & GUY LABEL M AND CLOSUS NINE
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e speaks passionately, not just about the more artistic songs he and his band writes or the songs he listens to on a regular basis, but also about pop, dance, and R&B. He has a foot in both worlds: music as a commercial product and music as an artistic outlet. Most of the songs he has worked on in the former category have made the best-selling singles list, but you still might not have heard of him in that context. According to Billboard, Ryan Tedder is the undercover king of pop, as he has written and produced hit songs for the likes of Adele, Beyonce, One Direction, Maroon 5 and is the first producer of 2014 to chart 6 top 40 hits. Like Kanye, Ryan is also a performer, but unlike Kanye, Ryan seems more grounded than egomaniacal when discussing his work.
What was working with Leona Lewis for her break-through single ‘Bleeding Love’ like?
I would’ve bet money against that song being a hit anywhere outside of the UK. That’s how cynical I was. I had no idea of the expectation that there was for it. I didn’t even know till after we did the song that she had been on X Factor.
what you feed it.
lot of thought, and you don’t have to dig deep.
If the artist is an artist and they are truly are in control of what is happening to their output, then yes there’s a machine, there’s money, there’s all this other nonsense, but you can still have something great. Rhianna for instance has had absolute moments of pop greatness, as far as pop is concerned. And by pop I mean boy bands, Rihanna, Katy Perry whatever. You can’t compare Rhianna to Damien Rice because they’re apples and oranges and a different language almost. But some would argue Adele, who’s sold thirty million albums, is pop but she adds a certain aesthetic and there are lines that she will not cross musically. Not every artist has that. When you don’t know where your lines are you will end up compromising and you end up doing something that could blow up in your face. Pure pop artists like Rhianna, Katy Perry, Bruno [Mars], have fewer lines, or the lines are a lot further apart. There is freedom in that, but you have to feed the machine. You have to have hits all the time: that is your currency. You have to have the most cutting edge, innovative, driving, fantastical songs that the world instantly reacts to. They don’t need a
Have you ever worked in a situation where the artist hasn’t been in the driving seat but it’s been the machine behind them?
Did you feel any pressure from Simon Cowell’s label?
Of course. Simon didn’t get to where he’s got by sitting back in the passenger seat and just assuming or hoping that things will just take care of themselves. His label is aggressive, flat out aggressive. They have an objective, they have a goal, a singleminded goal and everyone at that label is deadon in their approach. They’re like, ‘here’s when it’s coming out, here’s when it’s due, boom boom boom boom boom boom.’ When you’re making an album you can move things around, but when you have TV involved it is completely different. Their calendar is their bible. They cannot change the dates of when something is going to broadcast and so because of that they have a more militant approach. Does it feel different working on one of OneRepublic songs as opposed to a song for someone else?
OneRepublic songs are a lot harder for me. I compare it to theatre. A OneRepublic album is a play written, directed, produced, performed by us, by me, but when it’s for another artist I feel like I wrote the dialogue, but I don’t have to stand on stage and deliver it - so I’m not the one getting tomatoes thrown at ‘em if it doesn’t go well. Do you agree that the amount of money a record company invests in an artist’s output, in the hope to see a big return, reduce the artistic merit of whatever the output is?
Generally speaking it does. If you become too much a part of the machine, or if the machine gets too big, then the machine needs to be fed - and at a certain point it almost doesn’t matter
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Jumper by Berthold Coat and trousers by Katharina Perkhofer
Yes. If the artist is part of the machine then they’re too busy to really artistically care, they just say, ‘Give me the biggest hit.’ I can tell when I get in the room within two minutes if it’s business or if it’s art, and that comes down to the artist actually having a point of view. If they don’t have a point of view and actually their point of view is dictated by the machine, then it is purely business and I try to avoid those situations at all costs. Sometimes you don’t see it coming. You get in with an artist you’re impressed by, and then you realise when they walk into the room and they say, ‘So, what am I singing?’ You literally haven’t heard the song you’re about to sing that’s going on your album? ‘No, I haven’t. What is it? Is it good?’ That’s depressing. OneRepublic’s new single ‘Love Runs Out’ is out on Aug 3rd and also appears on a repackaged version of the album ‘Native’, out on Aug 11th on Mosley Music/ Interscope Records
eXaMpLe Finally living the happy life. words MILES HOLDER photography RACHELL SMITH photography assistant NATALIA SALMINEN styling DAN BLAKE @ ONE REPRESENTS Burgundy leather jacket by Bershka Printed jumper by Nicole Farhi Jeans by Acne (Exampleâ€™s own)
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Jacket by Boxfresh Floral tee by Nicole Farhi Jeans by Acne (Exampleâ€™s own) Trainers by Boxfresh
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Black leather jacket by All Saints
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This & opposite page: All by Mosaert - Stomaeâ€™s own fashion label.
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Bomber Jacket by Kit Nealel
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All by Mosaert
Top by Mosaert
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Jacket by Kit Neale
Jacket by James Pilcher
OF THE LINE? photography VIC LENTAIGNE styling DANYUL BROWN styling assistants MIRIAM MACGEH ALEXIA LLOYD DAHER makeup CLAUDIA SAVAGE using NARS COSMETICS hair JAMIE HORNE
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Dr. Martens drmartens.com.uk London +44(0) 845 437 3141 DSQUARED2 dsquared2.com International
+44 (0) 207 650 7721 Jil Sander jilsander.com International Jimmy Choo jimmychoo.com International
Fendi fendi.com International
Kenzo kenzo.com International
KTZ k-t-z.co.uk London +44 (0) 207 434 1316
Gareth Pugh garethpugh.net London +44 207 287 9890
Ann Demeulemeester anndemeulemeester.be Belgium + 32 3 830 52 72
Givenchy givenchy.com Paris +331 44 31 50 00
Anne Sofie Madsen annesofiemadsen.com Copenhagen
Gucci gucci.com International
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Mark Fast markfast.net London 07971 402 436
Atsuko Kudo atsukokudo.com London +44 (0)20 7700 4631
Harbort harbort-leather-design.com Barcelona +34 93 218 58 90
Maria Black maria-black.com Copenhagen +45 3841 4535
Hasan Hejazi hasanhejazi.com London
Maison Martin Margiela maisonmartinmargiela.com Paris + 33 (0) 1 44 53 63 10
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Hermès hermes.com International
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Christian Louboutin christianlouboutin.com International
Hugo Boss hugoboss.com International
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Chloe chloe.com International
Issey Miyake isseymiyake.com International
Costume National costumenational.com Paris
Jean Paul Gaultier jeanpaulgaultier.com International
Dolce & Gabbana dolcegabbana.com International
Jean-Pierre Braganza jeanpierrebraganza.com London
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Prada prada.com Italy +39 (0) 2550281 Prabal Gurung prabalgurung.com New York
Asher Levine asherlevine.com New York
Calvin Klein calvinklein.com International
PPQ ppqclothing.com London
Missoni missoni.com Milan +39 02 834 29 427
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Richard Nicoll richardnicoll.com London Roberto Cavalli robertocavalli.com International
S [Yves] Saint Laurent ysl.com International Samsøe Samsøe samsoe.com Copenhagen Sandro sandro-paris.com Paris +33 (0) 1 40 39 90 21
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Pam Hogg pamhogg.com London
Viktor & Rolf viktor-rolf.com Amsterdam 31204196188
Paul Smith paulsmith.co.uk International
Ports ports-intl.com Beijing (+86) 400.886.1961
Wolford wolford.com Bregenz, Austria +43 557 4690 0
X Xander Zhou xanderzhou.com Beijing/London
Z Zadig & Voltaire zadig-et-voltaire.com London
£15 ISSN 1758-5287
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Teaser version of FAULT Issue 18 (the RAW Issue). Get the full digital version from Zinio.com: http://bit.ly/1m8HbCU