Faultmagazine’s Blog

Max Modén

Posted in Uncategorized by faultmagazine on April 6, 2010


My name is Max Modén. I’m a photographer from Stockholm,Sweden.

I created this website to be able to share some of my pictures with you. The pictures are all taken by me and can be from my personal life or work portfolio. It can be from today or from the day I took my first picture. Just random pictures from my life that I like and want to share with you.

Best regards, Max Modén.



James D Kelly for FAULT Magazine

Posted in Uncategorized by faultmagazine on April 5, 2010


Posted in Uncategorized by faultmagazine on April 5, 2010


FAULT: Tell us about your collaboration?

M&W: Well, we have the same kind of background as photographers. We have studied photopgraphy and then we´ve been assisting for 7-8 years for different photographers.

We are from the old school, assistning with darkroom and analog film.  Since we have been sharing an office for 5 years in Stockholm we have always talked very open about our own different shootings. Giving each other inspiration and sharing ideas and picutures we love. About one year ago we decided to shoot a story together.

We do a lot of preproduction of our work together.so when it comes to the shooting we are very well prepared and we know  what we want to capture.

Most important for us ,and what we put a lot of energy to, and talk about – is the feeling and mood that we want to capture in the images. What we are going to do to achieve that.

Our collaboration had been very difficult  if we didn´t know each other so well.It’s a big step to go from shooting yourself compared to when you are collaborating with someone in an artistic way. For us it´s been very exiting.

FAULT: When did you first realise you worked well together?

M&W: After doing our first Editorial together we realized that it will work and that we had done something special. The wibe and feeling we wanted to capture was there, on every single frame. We were exited about what we had achieved together. People around us frequently asked us how we do when we shoot. When we did our first shooting we didnt actually know how it would carry through and what was going to happen. But it turned out to be very sucessful.

FAULT: How do you inspire each other?

M&W: We have always shared things we like with each other.

We collect a lot of inspirations from diffenent kind of creativ artprojects like movies and music and books. Everything that we like and want to add to an editorial story goes goes up on a wall… It could be pictures. Stills from movies, music or lyrics. When we have this beautiful mix we start to kill our darlings.

FAULT: What are the benefits of working together?

M&W: To combine and to use our different skills that we have, makes us stronger, a

nd we are able to get closer to the feeling and image that we are looking for. Brainstorming is more effective with two minds.

And most of all, it’s more fun.  It´s more nice to share a dinner with somenone than to eat alone..Especially when you have made it together.

FAULT: What are the drawbacks of working together?

M&W: In a collaboration, there will always be times when you disagree. It’s part of the working process.

If you never disagree you´ll keep on standing in your own backyard, digging your own dirt. The trick is how you solve it and move on. 

FAULT: Why do you think your relationship works so well?

M&W: We know one other very well and we respect each

others work and skills.

We bring each others best capacity to the surface.

FAULT: Is there anyone else you would both like to work with?

Waldemar: I would love to do an artmovie with David Bowie and Neil Young.  A documentry during a summer/holiday where i let them spend time together to share and exchange ideas, inspiration, music and thoughts. Or why not just silence. No directing and no guiding. David and Neil has their own dv camera to capture their own movie in the movie.

Max: Wes Anderson, Sean Penn and Sofia Coppola are people i really would like to work  with. I see moving pictures in the future.

FAULT: What are you both currently working on?

M&W: We are now doing the last retouch of  a work for your magasine Fault. Then we will start preparations for another editorial that is a movie/theatre inspirated story. We are also working on a exhibition we are having in Stockholm.

FAULT: What are you both looking forward to?

M&W:Our exibition soon to come

FAULT: What is your partners FAULT?

Waldemar: Christmas songs in office, starting in mid october!!! (c´mon..please no)

Max: For someone who have such good taste in music, makes it a mistary to me that he sometimes makes me listen to so bad popcountry music.


Posted in WALDEMAR AND MAX by faultmagazine on April 5, 2010

Florencia Kozuch

Posted in Florencia Kozuch by faultmagazine on April 1, 2010

Interview with Florencia Kozuch

By Laura Beaney

Growing up in Argentina with an impeccably dressed mother was bound to have had an impact upon Florencia Kozuch. She is the Central Saint Martins protégé with a fear of colour and a fascination with the Gaucho. And in her latest collection she channels both. In her refreshingly unconventional debut collection Kozuch utilizes the materials of her native land; applying sea urchins and crocodile skin to her powerful yet surprisingly wearable designs. For Florencia Kozuch it is not about where she’s been, but where she’s going.

FAULT: What began your career in fashion?

I have always had an interest in fashion, even before I was aware of what a ‘designer’ was. As a child I would continuously be drawing clothes and looking at what my mum and her friends would wear. I knew I wanted to study at Central St Martins so I moved to Spain and began to research. I did a foundation degree, which led on to a Bachelors degree at CSM where I created my first, graduate collection in June. My collection for London Fashion Week is my first work as a non-student.

FAULT: Your graduate collection was inspired by a fusion of Argentinean culture and Rock’n’Roll. What have you used as inspiration for your current collection?

My winter collection is actually a continuation of my graduate collection, but this time my key influence has been my Argentinean heritage. Parts of my collection have been influenced by Gaucho [Argentinean Cowboys]. You can see this in the riding tresses, riding shorts and the capes. I have integrated traditional features into some of the pieces such as the horns that add detail to belts. There are also sexy and feminine aspects to my collection such as the open wool coat – I have made it open at the front and the back to allow the wearer to move freely.

My collection displays elements from all over Argentina. The colours of Northern Argentina can be seen in the shoes and Central Argentina is represented in the use of crocodile skin and the Gaucho hats. Then down to the south and Patagonia where the riding trousers and the capes come from.

FAULT: In your graduate collection you chose not to work with colour. Why did you decide to incorporate blue into your latest collection?

I am usually afraid to work with colour, but I knew I had to try so I decided to use a navy blue in this collection as it works so well with the colour scheme and it is a traditional Argentinean colour.

FAULT: Did you experiment with any unusual materials and techniques when developing your collection?

I love to work with unusual materials! All the materials I used were locally sourced in Argentina. I have used unprocessed alpaca wool which has been hand knitted, I have also worked with crocodile skin but they are specifically bred and not endangered.

For my accessories I have chosen to use sea urchins – they are also from Argentina. They are very fragile and I like the unusual noise they make when you walk. I was actually looking for beads to use for my accessories, but I could not find anything to match my colour palette. Then, by chance I was in a shop and spotted a lamp made from a material that was perfectly matched to my collection. The storeowner informed me that it was in fact made from sea urchin! I was able to source a supplier using the Internet and had the sea urchins imported all the way from the south of Argentina. Once they had arrived I had them perforated and made into necklaces with my fathers help. It was a bit like a family business.

FAULT: Could you talk us through your favourite piece from the collection?

I have created dressy blazers that have the crocodile skin detail around the neck. They have strong structured shoulders that create a masculine aesthetic as the Gaucho are usually men. In Argentina women usually wear dresses – I have transformed the traditional male costume into a piece, which can be worn by a woman.

FAULT: What type of support have you had in launching your collection?

I was fortunate enough to gain sponsorship, which helped me to create the shoes, and provided me with the crocodile skin. Hopefully my next collection will be funded. As a designer you work so hard and spend all of your money on your work, so hopefully I will get something back and be able to fund another collection. I guess this is the challenge of working as a young fashion designer – being able to fund your work. If you ask around [in the new designers showroom] the general feeling is that this collection has to work.

FAULT: What can we expect from you in the future?

Now I will begin production for my current collection. Then in a months time I will begin my Spring/Summer 2011 collection, which I am really looking forward to. Whilst designing my current collection I kept thinking of ideas for summer pieces. There will be a lot more prints and patterns in my designs as well as light knits, silks and other luxe materials.

Eudon Choi

Posted in Eudon Choi by faultmagazine on April 1, 2010

Interview with Eudon Choi

By Laura Beaney

In 2009 a senior designer walked out of the prestigious doors of Twenty8Twelve. The decision was spurred by a desire to create his own label and with the help of Vauxhall Fashion Scout he did just that. Almost a year on Korean-born, Eudon Choi can list Sienna Miller and Jade Jagger among the devotees to his eponymous label. With his dynamic fusion of masculine tailoring and elegant feminine silhouettes the work of Eudon Choi reveals intense design methodology. Drawing upon military and masculine influences for his latest collection Choi employs durable materials and muted tones to striking effect.

FAULT: Looking at your collection in person, the construction and tailoring is very detailed, how did you gain these skills?

“It’s funny, I actually used to be a menswear designer. I had already completed a Masters in Menswear at Yonsei University (South Korea), but I gradually became more interested in women’s wear.  I made the decision to study for a Masters at the Royal College of Art in London. I think this was the real turning point in my career. In my current collection you can see elements of the structure involved in menswear tailoring as well as military influence. I play around with the volumes and dimensions of the garments to create my own unique style.

FAULT: How did make the transition between graduation and launching your own label?

In 2006 I was fortunate enough to have my graduate collection bought by Dover Street Market. I then went on to work as a senior designer at Sienna Miller’s label, Twenty8Twelve. I had thought a lot about launching my own label and the time felt right.

I began with a very small capsule collection, which I presented in a friend’s showroom in Paris. It was an opportunity to draw my work to the attention of the media, other designers and buyers. I did not realise at the time but my work had also made an impact upon the panel at Vauxhall Fashion Scout. I was selected as one of the four February 2010’s Ones To Watch, which allowed me to present my collection most recent collection at London Fashion Week AW 10/11.

FAULT: How does the concept for your latest collection compare with your last?

My first collection was very small, just to introduce the label to the buyers really. It was very dressy and delicate with beautiful sheer fabrics. My palette featured mainly candy colours – the style was very soft and whimsical.

For my second collection I wanted to take up a new challenge so decided to focus upon a practical and casual collection, something I had never done before. It has a military look to it without being too prominent. On the rack my designs have the appearance of menswear, but upon closer inspection they are actually very feminine. Although the pieces are structural they are very easy to wear.

FAULT: Can you describe some of the techniques and materials you used for the collection?

I like to take traditional concepts and present them in an unconventional manner. I used chiffon in a way, which turned the idea of traditional military camouflage on its head. I even applied masculine tailoring techniques to materials that are usually very soft and feminine like silk. However, this collection features more centrally upon hardy materials.

The leather for the trimmings was a gift! For this I was able to collaborate with fashion label owner Jas M.B. Jas’ company is obviously already established, but he was kind enough to let me go down to his factory and chose any leather I wanted. I was like a child in a sweet shop! He has amazing leathers and a huge range; I went through all his stock and opted for high quality brown leather. In my collection you can see I have integrated it with a sweatshirt to give a nod to the camouflage effect. Rubber-mounted wool has been used to create a raised effect on the seams so they really stand out and double-bonded waterproof material has been used on some of the outer garments – the material is very easily manipulated so it can be stitched into but it is also very functional. Fabric is very key to my designs.

FAULT: Do you have a favourite piece from the collection?

The buckled over-the-knee boots have become somewhat of a talking point although I must say, for me it would be the coats. On one I have used a raglan sleeve as I love the shape it creates – the wearer can pull the sleeves up to which gives a puffed look and personalises the outfit.

Dora Mojzes

Posted in Uncategorized by faultmagazine on April 1, 2010

By Roshannah Bagley

BUDAPEST, Hungary:: Fashion designer Dora Mojzes aims to “create the image of a 21st century woman. A woman with high standards, a woman who is open and self-confident, a woman who is successful in work and can be feminine in everyday life.”Specialising in leather with a penchant for all things dark, the young designer allows FAULT and its readers an insight into her new Autumn Winter 2010/11 collection.

FAULT:: How are you finding life as an emerging designer in Hungary?

Dora:: Not very easy…the fashion industry in Hungary is very scant and small..but thanks to the internet there are plenty of new possibilities arising. Therefore, I don’t really think it matters where I am based. Fortunately there is an increasing number of possibilities and customers from different countries who have come my way from finding me on the internet.

FAULT:: Where did your fascination with fashion begin?

Dora:: I was raised in a family where art was very important, (my mother is a designer and freelance artist, and my father was an architect) this milieu provided the opportunity to pursue something artistic, I wasn’t really thinking about any other career path.

FAULT:: Who or what inspires you?

Dora:: Books, music, artists …everything. It is always different…If I am finding it difficult to find inspiration, I just put on music by my favourite bands like Tool, Nine Inch Nails…or Depeche Mode and I usually think of something easily.

FAULT:: How did your experience at London College of Fashion shape your knowledge of fashion and design?

Dora:: I only spent a semester at the London College of Fashion. The teaching was very different to how it is in Hungary….it was a huge advantage for me to have the opportunity to gain a firsthand insight into a foreign educational system. We have a more complex education system in Hungary.

FAULT:: Can you tell us about your new Autumn Winter 2010 collection?

Dora:: The AW 2010/11 collection is inspired by Jeanne d’Arc! I intended the collection to look like an army of Dora Mojzes …haha…The colour palette includes a lot of black, but I also used dark-red and white. This was the first time I made t-shirts with graphics! You can find pieces from street wear to couture in the collection.

FAULT:: Which is your favourite piece and why?

Dora:: I love the trench coat! It’s unique and easy to wear!

FAULT:: What’s next for Dora Mojzes?

Dora:: Now I will begin to design my next Spring Summer collection. And I hope the Dora Mojzes brand becomes bigger and bigger!

FAULT:: What is your FAULT?

Dora:: I can’t do anything in time. I hate deadlines!:-)


Credits: Photographer: Mark Vislay
(www.markvislay.com) Hair: Tamas Tukes (www.hairclub.hu) Make up:
Richard Fazekas Model: Luca @ Attractive Model Agency.


Posted in www.lillyheine.com by faultmagazine on April 1, 2010

FAULT:: Where did you seek inspiration for your MA collection?

Lilly:: I was looking at Picasso’s studies of curvaceous women and his sculptures and at the same time started using fabric to create volume. Once I put these shapes onto the body, it was like sculpting on a person. When the models walked around in the garments, the different layers started to move and looked like sculptures in motion.

FAULT:: How were the garments made?

Lilly:: Every shape is laser cut and then every layer is pieced together by hand stitching. It is a very labour intensive collection. Sometimes there were quite a few of us standing around a garment on a mannequin, sewing in different places. Essentially, it is in part a couture collection, disguised by the fact that it looks modern.

FAULT:: How does it feel to be one of the winners of the renowned Harrods award for best collection?

Lilly:: Good and unexpected.

FAULT:: Where have you gained experience in the industry?

Lilly:: I have worked for McQueen, where I designed prints for Spring Summer 08. I had such a good time there, I laughed a lot! I also worked for Jonathan Saunders the summer before that, one of the last seasons when print was still the focal point of his work.

FAULT:: What’s next for Lilly Heine?

Lilly:: I have some freelance work and some interviews in the next few weeks…

FAULT:: What is your FAULT?

Lilly:: I get so obsessive when I am designing that I cannot concentrate on anything else.


Shao-yen Chen

Posted in Lilly Heine, Shao-yen Chen by faultmagazine on April 1, 2010

By Roshannah Bagley

LONDON, United Kingdom:: After the tragic passing of fashion genius Lee ‘Alexander’ McQueen in February, London Fashion Week was as expected an emotional and poignant occasion. The institution that is Central St Martins – responsible for shaping McQueen’s remarkable talent and home to the world’s most promising innovators – presented their annual MA graduate fashion show at Somerset House. Whilst McQueen spoke of his love for St Martins: “What I liked was I was surrounded by like-minded people. Central St Martins showed me there were people out there – like me”, a new crop of 22 rookies made their international debut.

The desirable Harrods award (previous recipients Christopher Kane and David Koma) was shared between Jackie Lee and Lilly Heine. Lee, who prior to the course was a pattern cutter for eight years, featured a collection with a ‘mannish’ undertone with effortless tailoring. Textiles specialist Heine presented a range of minimalist garments with laser cut layered shapes formed to move with the body. The L’Oreal Professionnel prize was awarded to Rok Hwang for his collection of strapless maxi dresses emblazoned with huge star motifs.

Lilly Heine and knitwear extraordinaire Shao-yen Chen (who displayed an extraordinary collection of knitted fringed dresses) speak to FAULT about their plans for the future.

FAULT:: As part of the St Martins MA show, you presented an all white range of dresses. What was the inspiration behind this range?

Shao-yen:: This collection is inspired by sea and waves, so I worked on different layers and textures. I also looked at 1970s fur coats and African tribal costumes for the silhouettes of the garments.

FAULT:: How were these pieces made?

Shao-yen:: I knitted together nylon, cashmere and lycra yarns on domestic knit machines. Although the garments were machine-made, I need to put every nylon fibre on each needle by hand in order to create volume, so it is quite time-consuming and requires a lot of handywork.

FAULT:: How has your previous experience at Alexander McQueen, Claire Tough and Hussein Chalayan influenced your design aesthetic?

Shao-yen:: Both McQueen and Chalayan pay much attention to the presentation of their work. Their shows are closer to performance than the usual fashion catwalk. I also hope to present shows like theirs in the future, when I have the ability. Claire Tough has influenced me on my knitwear techniques.

FAULT:: What are you up to now you have graduated?

Shao-yen:: I am going to take a break and then sort out the sponsorship for starting my own label.

FAULT:: What are your hopes for the next five years?

Shao-yen:: I hope to establish my own label and have the opportunities to collaborate with artists and designers I admire.

FAULT:: What is your FAULT?

Shao-yen:: I chose to study this course, now I am completely exhausted.