Page 1

Issue One


the new club kid

topshop ad


PENROSE inside issue one





Jessica Calderwood

If you’re getting bored of

It isn’t just a desk.Your

It isn’t just a desk.Your

introduces the issue and

the ‘heres what I wore’

workplace says a lot

workplace says a lot

our contributors.

blogs, take a look at these.

about you.

about you.





We photography stylish

Jessica Calderwood looks

This season accessories

A directory of events for

students in London city.

at how we dress today.

go bright.

this summer.





We ask 12 industry

From gothic lace to high

Theres a new generation

Skateboard art. Got a

insiders whether interns

kecks, let Penrose take

taking over the London

broken skateboard? Heres

should be paid or not.

you to church.

club scene; The Club Kids.

what you can do with it.





We take the best looks

Stylist Natalie Theo tells

Lillie Cooper discusses

David Reeson doodles the

from this season and find

Penrose all about her past

how we’ve lost our

person who inspires him

the perfect dupes, its high

and how she got where

emotional connection

the most; fashion designer

fashion on the high street.

she is today.

with music.

Zandra Rhodes.

Editors Letter

Student Style

The Big Question

Designer Dupes

Blogs to FOLLOW


Sunday Best

The journey of



THE club kid


raising the bar

whats on in london






letter The team and I invite you to the first issue of Penrose, feeding the creative, culturally aware and talented individual. Originality is part of Penrose’s vocabulary; we feature what we feel is innovative and unique to the coming season. In this issue, we greet ‘The New Club Kid’ (page 57), celebrating the birth of the magazine with their bold and fresh style. They have no rules to dress by and we applaud that they stand out within the club scene. Showcasing our different personalities, we have the artistically shot ‘Sunday Best’ editorial, set in the prominent yet beautiful grounds of Charlton House (page 27). Conversing with professionals in the creative industries is inspirational, and we have got some of the best lined up, with thanks to Natalie Theo explaining its not going to be the traditional A-Z route when leaving university (page 39) and Caryn Franklin to Sophia Money-Coutts giving there opinions on our big question this issue (page 15). So whether you want to be introduced to a blog, sneak a peak at this issues doodle or read about an exciting bar or event, Penrose is now here. Till next time, enjoy!

Jessica Calderwood Editor-in-Chief

CONTRIBUTORS Lillie Cooper Sub Editor Illustrator Features Writer Fashion Assistant

Elizabeth Fowler Art Director Fashion Assistant

Jenna Pikhola Features Writer Stylist

Becky Lightbody Stylist Features Writer Photographer

Amy England Features Writer Stylist

Contributing Photographers Sean Jackson Josh Fray







STYLE We’ve spotted students all over London sporting the ever classic monochromatic black and white trend. Here we share our favourites. Age: 20 Uni: Birmingham University Course: Millennium Performing Arts






Age: 21 Uni: London College of Fashion Course: Menswear Design





Age: 19 Uni: Birmingham University Course: Jewellery and Goldsmithing









Age: 21 Uni: University of Sunderland Course: Sports Business Management

Age: 20 Uni: Ravensbourne Course: Graphics Design





Age: 19 Uni: Cardiff University Course: Dentistry and Hygiene




Age: 21 Uni: Roehampton University Course: English Literature



The Big Question

SHOULD INTERNS BE PAID? There has been a lot more press across the creative industries, forums and discussion groups with regards to interns and whether they should be paid over recent years. It is now the law, that if an intern is classed as a worker, then they are entitled to the National Minimum Wage, applying to graduate interns, as they no longer have student financial support. However student internships, work placements, or work shadowing aren’t due the National Minimum Wage. The practice of not paying graduate interns has now virtually disappeared; it has changed because these businesses do not want bad press, but should all interns qualify for a wage. Jo Eaton says ‘in an ideal world a sandwich law or placement year that’s the way it’s going, people are only taking students on accredited courses’. Here are the opinions of the professionals, what do you think?

YES ‘I think they definitely should, a lot of people can not intern because they do not offer funding!’ Georgia White (Blogger, ‘If it’s longer than a month then yes, otherwise there’ll only be applicants from families who can support them.’ Sophie Heawood (Journalist for Independent, Vice, Grazia) ‘If you’re an intern, say for up to six months, then some pay should ideally be paid.’ Sophia Money-Coutts (Conde Nast and Feature Editor for Tatler) ‘Everyone should be paid according to their abilities, interns too.’ Kinder Agguini (Fashion Designer) ‘Interns should be paid IF the company is a large profitable brand and intern is delivering a professional standard.’ Caryn Franklin (All Walks Catwalk) ‘They have to be motivational, but someone is making money with their work and it is still labour.’ Marlon Maues (Car Graphics)


NO ‘An unpaid internship is ok if you are learning lots.’ Marta Represa (Blogger and Contributor to AnOther and Wonderland magazine) ‘Hard work and dedication always deserves immediate reward, it is usually consolation.’ Carmen Gray (Film Editor and Writer at Dazed&Confused, AnOther, The Guardian) ‘It’s great experience working with a creative team.’ Alex Styles (Photographer) ‘Interns aim is to gain experience, create contacts and get a flavour for an industry, not to earn money.’ Mary Davidson (Marketing and Partnership Specialist) ‘Interning opens doors which increases potential employment, providing the person siezes the opportunity which could lead to a paid job.’ Fred Donnerton (Architect) ‘Those who will work for free show that they are really passionate about a job or an industry, its a chance to find true talent within a person.’ Gemma Ainsworth (Boutique owner)


Designer dupes Think you can’t do high fashion on a high street budget? Think again. We’ve taken two of the hottest looks from this seasons lookbooks and recreated them using clothes straight from the high street, high fashion doesn’t have to mean high price tags, take note!

Suit Jacket £79.99 Trousers £39.99 Shirt £14.79 All from Zara Shoes £36 from Tk Maxx


CÉL Total: Approx £2,370

Total: £170.77

Socks £9.99 Sunglasses £12.00 Both from Topman Black top £3.50 from Primark Jacket £36.75 from Forever 21 Trouses £29.99 from Zara



N Total: Approx £1,506

Total: £92.23 18


BLOGS TO FOLLOw Jenna Pikhola shares her top six










21 This street art blog has a long history being established in 2005. Street art is not only graffiti but includes stencils, prints and stickers. It’s an extremely addictive blog for modern art and street art lovers! The inspirational images collected in this blog will leave you amazed every time you log on. It contains up to date information about London street based art and interviews with up and coming artists. This adorable blog is about DIY. Florence has an eye for detail, being filled with lovely colours and the beautiful patterned fabrics she uses. With step-by-step tutorials, it proves that accessories are easy to make, even for the clumsiest individual. From needle cases to headbands and scent sachets this blog is full of things to create and personalise. Extremely sharp satire about relatively rare objects in the world of fashion. Illustrator AleXsandro Palombo, critically writes and draws about people and phenomena in the fashion industry. Most illustrations are very humorous, but Palombo doesn’t forget to be critical about more serious issues, which surround the fashion industry. The over the top manner makes this blog entertaining and unique. Domestic Sluttery turns the whole concept of the ‘perfect housewife’ upside down. It’s serving everything from food to fashion with a twist. It is a nice spice in the somewhat dull blog world; it’s sweet and bubbly. This blog is especially for ladies who don’t want to be categorised as ‘ordinary’ and don’t take life too seriously. Who said being eco-friendly needs to be boring? Being fashionable doesn’t mean that you can’t be green. FASHIONmeGREEN shows you how to be stylish whilst respecting the environment. The blog is about green style, and it does it well. There lives a small stalker in each of us, there’s no doubt about that. ‘What’s In Your Bedroom’ is a window to the place of people’s most private room. If you need inspiration for decorating, this blog is more approachable than ordinary home magazines, as it shows realistic living spaces. There are interviews with the owners, which adds more personality and brings the images to life.


do we still dress to rules? What are you dressing for? Jessica Calderwood looks at how we have become freer when getting dressed in the morning.


ulling her petite black leather Prada bag close to her vintage biker jacket, suspended from her shoulders, revealing her pristine white Cos t-shirt, the tube doors shut abruptly behind her. Peeping through the crowd of people, the ruby satin of the Antipodium high-waisted, midi skirt reflected the light as she bent down to tuck her laces in to her chunky New Balance trainers. I then began to think about where she could be going or doing with her outfit? Remove the biker jacket and trainers; you have a fairly smart, evening outfit. This made me think about dress codes, a supposed set of rules, governing what should be worn in what setting. Just walking down the street you can see these rules are now very relaxed and maybe even non-existent. Dress codes were first introduced as way to define social standing, now the wealthiest person could not be recognised amongst a sea of people, unless you can tell your Helmut Lang from your H&M. Everybody wakes up in the morning and navigates between areas of their wardrobe depending on what plans they have. It’s about functionality, but the difference today is that we can be practical without forfeiting style, e.g. with Fendi’s sports range featuring a floral bomber jacket, and a terrycloth trim pique jacket. An outfit can reflect a rank in occupation or someone’s ethnicity, or an attitude towards comfort or fashion. But these built in signals in clothing don’t necessarily translate anymore, where celebrities were the minority to wear couture and designer pieces. However now this is changing, for example Rihanna featuring at London fashion week on behalf of River Island. I commend that fashion is not rigid and by the book, but fun and free.


Dress codes were considered either full dress, half dress, or undress, this then evolved into formal, semi formal and informal, now these categories have grown so much that they have all merged. It is more common that certain events and places have specific rules (no trainers accepted). Casual wear is a term that invokes dull images of baggy unforgiving jeans and stiffly ironed T-shirts, clothes which you can mill around the house in and go food shopping comfortably. Offices and places of work used to be the home of the standard ill – fitting grey suit. Now there is business casual, which translates as a top – button - undone shirt, and crisp chinos. You still have black tie dress code for particular events where every man in the room would look nigh on identical. But is it good that we still have these authoritarian codes to dress by? It holds on to that elegance that dress codes used to highlight. I think Dress codes have changed mostly with regards to professions. It was conventional to wear a suit; it oozed professionalism, sharpness and intelligence. When women started wearing suits in the 1980’s it represented power. However now it depends on the industry, certain jobs require a uniform to unify a brand and make that person part of a team. In more creative industries it’s about expressing your personal identity. Before Bill Gates became famous, he wore khaki ‘slacks’ and a polo shirt, but now he’s traded it with a black and somewhat bland suit due to his reputable title of an International Ambassador. Clothes can make you feel more confident and in any professional industry this can make a difference to how you are perceived. We are always aiming to please and maintain the norms, by not dressing too outrageously.

PENROSE However, Steve Jobs, in the same industry, got the same respect and recognition, but instead of changing the way he looked, he stuck to his signature black, long sleeved, mock turtleneck and jeans, this became his identity. Styling in the fashion industry used to be a service exclusively for celebrities, now its extended and you see personal shoppers running around Topshop frantically with a rail. This is a service for people who need advice with perhaps developing their style, or that they just don’t have the time to wonder around the five floors of Topshop that occupy Oxford Street. But when I asked Tamsyn Ainsworth at Topshop she said that their first question is ‘What occasion are you dressing for?’ Does this suggest that dress codes have become so lenient people are struggling with the judgment with what to wear and suitability, trying to not be that fashion faux pas. When you walk in to the concrete shadowy basement of Rick Owens Mayfair boutique, the beautiful selection of signature grey scale jumpers hanging on a copper rail, tell you its luxurious casual wear. Do designers work to these dress codes when designing their collections? Donna Karen said that, ‘Design is a constant challenge to balance comfort with luxe, the practical with the desirable’, showing the suitability of a garment is key yet hard to perfect. Couture, luxury brands and fast fashion have always catered to their own markets and almost always associated with different dress codes. The high street brands are for the everyday clothing, the basic T-shirt or chinos, but you could never imagine a couture skirt gracing the bus on a Saturday. This change of dress code could be explained when brands such as Dior and Lacroix, which dominated fashion, produced their ‘ready-to-wear’ collections which stood alongside their couture pieces. This enabled designer’s achingly precise garments to be seen on the street by a variety of people and extended their brand. The emergence of haute casual, a paradox in itself, shows shift in dressing. It’s spruced up casual wear, with the sophisticated perfect cuts and luxury fabrics, without all the sequins and sparkle. These pieces look, feel and are expensive. It is a trend that everybody can adopt, as a considerate consumer, investing in one piece such as the timeless wear-under-everything silk vest from Joseph is worth it. It is a hard trend to define but it’s not fussy and understated, overdressed it leans too the haute, and too underdressed it leans more towards casual. Minimalism lends itself well to this trend; it is everyday items such as a shirt, a jumper and trench coat, which has that special something, whether it’s the sliced pockets or boiled cashmere. You now see brands such as The Row by Mary-Kate and Ashley Olsen designing for this basic dress code with the simple white trousers and leggings, which now seem to be the norm. With the introduction of trends which change every season, it means that people all wear pretty much the same which satiate the rails in almost every store for a season, you can’t walk down the street without seeing a midriff of a cut out at the moment. >



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“It’s a new era in fashion, there are no rules, it’s all about the individual and personal style” Even when people don’t think they are fashion conscious, trends still affect everything they wear. Trends are now so accessible, that even though these dress codes still exist vaguely, people have the choice from a wide range of styles, colours, and fits, which people can still express themselves with. The classic shirt, has been reinvented every year since 1913, everybody could pull a different shirt out of their wardrobe. It could be softer, lighter and utterly feminine, updated in luxe fabrics and slightly embellished with delicate additions, or a shirt with sheer organza panels seizing to be seen as another androgynous rendering, becoming more of a lighter vision of the timeless silhouette. This celebrates the range of designers we have in the industry, people complain we have too many, but think how many white shirts are out there…countless, and they are all liable to different designers. It shows that everybody now has the chance to dress how they want to and achieve individuality, which in my opinion makes walking down the street far more interesting. In Western cultures and especially Britain, I think this decline in dressing to meet expectations is greater than that of other countries. When I attended an Indian wedding I wore the most exquisite maroon net lehenga saree, with vertical panels of decorative zari embroidered patterns, embellished with crystals. The whole wedding was colourful and traditional to the couple; it was only when I went outside to the scenic gardens which the gracious manor house sat on, that I was reminded I was in England.This cultural acclimatization is a form of respect; certain countries require you to cover your shoulders or wear loose clothing. Religion is a dress code and is more of a habit for some

people. You would think that everybody has a wardrobe full of clothes that could steer them through most social situations. All cities have their own fashion tribes, Hong Kong being no exception. Among the OL’S, or Office Ladies, a standard uniform exists of sensible skirt suits pared with designer accessories.Then there are the tai-tais – wives – who – lunch are distinguishable by their trunk – show – brought Escada, Gucci and Chanel. Finally for the large continent, the high – powered women with a career in finances, look to Alexander Wang and McQueen for their work wear. In Hong Kong, its either high or low, £1 or £1000. The women of Hong Kong are immaculately dressed, a standard outfit consists of Jimmy Choo mules, denim cut-offs, and a Stella Mcartney blazer, whilst swinging a leopard – print Celine Cabas tote. Fashion there is a national passion, and they take theirs smart. Dress codes were introduced as way of representation, this still remains however the way people wish to represent themselves is different now, it used to be there status and class, now with more freedom and choice in what you can wear, its about individual identity and personality. Alexander McQueen once said, ‘It’s a new era in fashion - there are no rules. It’s all about the individual and personal style, wearing high-end, low-end, classic labels, and up-and-coming designers all-together’. Some people would say we shouldn’t have rules to follow? But to me fashion is aspirational, we have so much access to all sectors of fashion and trends that we can still express who we are whilst following norms, and those couture dresses should remain on the catwalks and red carpet.

HARRODS DRESS CODE EVOLUTION Harrods, the upmarket department store, sits on Brompton Road in Knightsbridge, stretching across 7 floors featuring 330 departments. It appears the way their staff dress within the store has greatly changed over the years. Ashley Martin, who worked as an Assistant Fashion Buyer at Harrods, started working at the age of 22 and worked from 1974 – 1979 at Harrods. He says, ‘When I was working in Younger Set we would let the girls dress in the lines we were selling. We also gave them 45% discount on the clothes in the department. But as a rule in Harrods the dress code was smart


– men always wore suits with white shirts and black ties, women dresses or skirts. The people on the fashion floor were were interested in fashion and given discounts so it was easy to be well dressed.The guidelines were very strict and everyone looked very uniformed.’ Sheila who works at Harrods currently explains that, ‘For the shop floor and selling support the rules are more relaxed than they used to be. We looked at other retailers and noticed their staff were wearing the merchandise. We already had this policy and gave discount, but now we give more freedom with what they

choose to wear, for example instead of black, they can wear pastels colours, and there is no need for business like attire as the customer is more influenced from a trendy outfit. It’s about keeping up to date and adds more personality to the shop floor, just no jeans. Within the ‘uniform’ they get £5,000 worth of ‘work wear’ at 50% off, along with one bag and one coat per year, this ensures they are well – dressed. Visual Merchandiser’s guidelines have adapted to the nature of their job and are now much more relaxed. At head office, people dress smart but remain fashionable.’


The catwalks this season worshiped religious references. From gothic lace to high necks, let Penrose take you to church. Fashion and Photography by Becky Lightbody

black lace top, Primark. black bralet, Topshop. black tube skirt, Oh My Love. crucifix bracelets,Topman.

Opposite: white shirt, Uniqlo. black tie, John Lewis. black mini skirt, UNIF. white socks, Primark. black shoes, Topshop. This page: flower crown, white lace crop top, both Topshop. black pleat skirt, Zara. black belt, ASOS. black ankle socks ,Primark. platform shoes, Jeffery Campbell

Opposite: flower crown, Primark. white veil, John Lewis. polo kneck dress, Topshop. This page: lace shirt, Miss Selfridge. mini dress, Jones + Jones. black belt, ASOS. knee high socks ,Primark. platform shoes, Jeffery Campbell

shirt dress, Topshop. belted harness, Camden Market. platform shoes, Jeffrey Campbell. silver bracelet, Topman.

Opposite: crucifix top, Smut Clothing. black belt, as before. pencil skirt, Topshop. lace veil, Fabricland. This page: flower crown, Topshop. dress with collar, Oh My Love. bracelet, Primark. black shoes, Topshop Hair and make-up by Rebecca Lightbody, Fashion assistant Jessica Calderwood, Model Eloise Ball, shot on location at Charlton House.



The journey of...

NATALIE THEO The influential stylist speaks to Jessica Calderwood about her past from graduating in law, to following her true path to work in fashion. Tucked away in the corner of ‘Scandinavian Kitchen,’ a small coffee shop based just off Oxford Circus, sits Natalie Theo. Wearing an off-white boucle biker Zara jacket, hiding a longline cozy cashmere jumper from M&S, with a rich purple woolen Ted Baker scarf giving a splash of colour. Paired with Zara’s signature thick black leggings tucked into long, heeled, black leather Jimmy Choo boots. Her Oliver Peoples tortoise shell sunglasses and coffee rest on the small wooden table. Natalie Theo is a stylist at Dressipi, a personalized discovery engine for fashion. But her journey has not been a smooth ride. Growing up in Zimbabwe, then moving to South Africa and graduating from Wits in Johannesburg with a degree in Law and English Literature. She isn’t British, she had never lived in London, never knew anyone in the fashion industry but now has an impressive CV, from being the fashion editor of the Daily Mail, to launching Russian and Greek Vogue. It sounds so lucky and glamorous, but Natalie explains that she worked for a long time, cutting and pasting, sticking stamps on things, but if you really want to do something then there is nothing stopping you.


What enticed you to study Law and English Literature, because it seems you’ve always had a love for fashion? I didn’t really know what I wanted to be, but I liked reading books so I thought I wanted to be a lawyer. I suppose I love pretty things and nice things, I was interested in magazines. I would find a picture of clothing I liked, and my mum would make it for me, I was very lucky like that. I would cut pictures out and stick them in books in my spare time, but I never understood nor thought about studying fashion. I can’t sew my creativity is elsewhere!


Have you always known what you wanted to be when you were older? No not really, I thought I wanted to be a lawyer or something like that. I came to London whilst taking the equivalent of a gap year, and I really liked it so I started looking for a job just for a few months. Meanwhile, I heard about Graduate Training programmes, someone recommended advertising because I was creative, but my interviews weren’t successful. What made you choose London? I came to London on holiday after finishing studying at 20. I always read English Literature; I loved Charles Dickens and Enid Blyton. It was so inspiring to read dramas then go and watch the plays, everything I read about came to life. How did you start working for the Financial Times? I went to work for a South African newspaper, and I didn’t really enjoy it. There was a girl who worked in a pub, and the regular customers worked at the Financial Times, so she arranged for me to do one days work experience with the art director on the weekend Financial Times. I saw this lady walking in and out of the office with a lovely magazine, I said ‘What are you doing?’ she explained about launching the How To Spend It magazine, I said ‘Do you need any assistance?’ she said yes but she couldn’t pay me. After a few weeks, I went to the managing director of the Financial Times explaining I really needed a job because I can’t work for nothing, so I became the news desk assistant.You would think I needed to have studied economics but I didn’t. Before you got the job at The Financial Times, was the work experience useful? Straight away they were like can you call in pictures, do the spell check, and you just do it. I didn’t learn how to put a magazine together but just how it operated, I understood what a sub editor was, an editor was, a features writer was as opposed to a fashion writer. I picked up quite a lot from just observing. Launching the Russian and Greek Vogue is massive credential, how did that come about? After the Financial Times gave me a bit of street credibility, I wrote to Conde Nast. They interviewed me, and said I would be happy to temp anywhere in the building. I did this for a while, a good 4 – 5 months in every single office until a job became available, but the temping meant I met everyone. I was employed as my editor’s assistant, so one day I would be getting her dry cleaning, and then I would find myself going to Paris for Greek Vogue to interview all the designers there from YSL to Valentino. It was a bit like the Wild West, I was dealing with new territories, everything was new but I hadn’t studied fashion, I simply loved the art and stories of it all.

‘You should never limit yourself, if someone says you can’t, ask why not! ’ When you look back do you think your degree and university experience was worth it? Absolutely, I learnt how to ask questions, how to research, which is really important if your writing. If I’m doing a fashion shoot, movies, books and history inspire me. You might not see that as a consumer when looking at a beautiful shoot in Vogue, but there are so many thoughts, mood boards, art and storylines behind it. It’s never a waste; whatever you are studying, as it just shows that you have got a little bit of initiative, and that you can work hard. It gives you tools; I loved every minute of studying. How did you become the fashion editor of the Daily Mail for 7 years? I worked really hard whilst with Conde Nast. Then I read an article in the Daily Mail, that said Kate Moss didn’t have any style, I thought this was wrong. So I wrote a letter to the editor, saying that I disagreed and why. I also asked if I could do some freelance work, and out of the blue they said could you come and be our fashion editor. What made you leave that role and become a stylist at Dressipi? Well, I had left Daily Mail a few months before when I was contacted by the girls from Dressipi, who explained the site. I have always been completely obsessed of the concept of technology, when I was 16 if I had Topshop and the Internet, I would have been really happy! I thought if you can turn a fashion editor to technology, then that’s amazing. Alongside Dressipi, you run your own blog, The Fashion Chronicles, what made you start this independent site? I started it when I left the Daily Mail; to me it’s fun and is like my business card.The Internet means anybody can do anything. I could put anything I wanted to on it. As well as The Fashion Chronicles, you have a pinterest site and you’re on twitter, is this where the fashion industry is heading? Twitter is my medium of choice…I love it! Digital is free marketing if you want to promote anything, if you want to learn about anything, if you want to do things quickly, then yes in that respect. >



But with a magazine or a store it is still concrete, they have to have the digital to compliment it but it will never exist on it’s own, it’s just a great tool! Which job or part of your life do you feel you’ve learnt the most? If your not constantly learning then I think your getting bored and its time to find a new job, because otherwise you wouldn’t be giving the best of yourself. At the Daily Mail I learnt how to do things at the last minute by setting methods. At Conde Nast, I learnt how to deal with different people and different cultures and creating beautiful images from scratch, each job has taught me something. How has your degree benefitted you in your current career as a Stylist? Stylist is a loose term, its being creative, but at the same time what we do at Dressipi is very technical, we sit with the tech team creating a lot of spreadsheets, I have to be analytical and concise. I adapted to what I knew, when writing you have to be concise and get your message across, both skills I have applied. Any degree will help, as it’s the discipline. Is there someone who inspired you in your journey? I like to do my own thing, but there was a lady called Fleur Cowles, who launched the most beautiful magazine called Flair. I met her and she was very dynamic, she painted, she flew airplanes, and she asked me ‘What do you want to do?’ and I said I want to be an editor, and she made me question myself about who I exactly wanted to be.




1 / Don’t put yourself in a box, it’s impossible A) to teach at university all the different jobs that exist, and B) to think about you want. So when I studied law, I was just thinking criminals and cases but I didn’t actually understand that you could now be lawyer for Jimmy Choo or Topshop. There are so many angles, so don’t feel limited because you haven’t studied something.

You’ve said that the best piece of advice you’ve had, was ‘there is an abundance of everything in this world, just open yourself up to it and it will come to you’ how do you interpret this? When the person told me this I think they were talking about men! But if you get stressed or not getting to where you need to be, it could be quite hectic. You should just take a step back and keep focused, it’s going to be twirly, whirly and completely bonkers and its only when you’ve done it and look back that you think you did actually do it.

2 / Keep your CV short, say what you would really like to do and be honest. I sometimes just want to meet the people, so get the interview and then sell yourself, just go for it!

Finally, is there anything you still want to do or achieve? I think that some people sit down and say this is what I want to be, and make a plan, but I can’t make plans. I’ve always known when I want to move on, I trust my instinct, and it guides me. The only thing I would like to do more of is writing, maybe a few books, but that’s purely down to discipline. And of course it would be amazing to be in a Woody Allen movie!

5 / It’s not who you know, but you need to make those opportunities for yourself to get that little step closer.


3 / Use technology to your benefit; find your medium of choice and experiment with it. Online presence is huge, see it as your business card and you can reach more people. 4 / You should never limit yourself, if someone says you can’t, ask why not!

6 / Use what you have to your benefit. Now I am in fashion and technology, it gives me more leverage, I can learn as much as I want to about technology. 7 / Be a little bit clever and use your initiative to find that opportunity, it may not look how you want it to look, or it may not be what you think it is in your mind, but actually it is in the long run.



MY SPACE Whether it be a kitchen table or a study desk, creative space is unique to each individual, its gives us an insight into personalities, hobbies and interests. We have captured people’s creative spaces of all different ages and areas of study. 2 1/ Laura Evans 23 Jewellery Designer 2 / Lauren Smith 19 Art Student 3 / Joel Jennins 26 Bass Player


3 4 / Francesca Grant, 22, Journalist. 5 / Alicia Benjamin, 18, Fashion Design Student. 6 / Jack Potter, 36, PR Consultant.

5 6



7 / Julie Michelet 42 Craftsmen 8 / Poppy Wilson 19 Photography Student


7 9 / Ben Hook, 25, Music producer 10 / Chloe Thompson, 20, Graphic Designer.

10 2/ /



11 / Paul Dockery 45 Architect 12 / Steven Lane 33 Features Writer.



13 / Tina Dixon 29 Creative Director


14 / Rachel Marshall 25 Events Planner.




IT IN This season accessories go bold, let them do the talking. Photography by Sean Jackson

WHITE BY BECKY LIGHTBODY stud necklace, tote bag with pvc, both from Bershka. miniature satchel, plastic bangle, both from H&M. platform boots, Jeffery Campbell.

PINK BY AMY ENGLAND Opposite: scarf, Zara. analog watch, Casio. bag, curcifix earrings, bracelet and bead necklace all Primark NAVY BY LILLIE COOPER This page: boat shoes, sunglasses both River Island. travel bag, Zara. wrist watch, Swatch. notebook, Archi Grand at Selfridges.

GREEN BY ELIZABETH FOWLER Opposite: beanie hat, braces, canvas backpack all Topman. suede shoes, Office. bracelets, River Island. YELLOW BY JENNA PIKHOLA This page: umberella, thin belt both Forever 21. print scarf, drop earings both Topshop. messenger bag, Zara.

RED BY JESSICA CALDERWOOD large backpack, wayfarer sunglasses, wallet, canvas pumps all Topman. woven belt, River Island. wrist watch, Casio at Urban Outfitters. Fashion assisstants, Jenna Pikhola, Lillie Cooper and Elizabeth Fowler, shot on location at Southbank.


CLUB KID A new generation of club kids have overtaken the London club scene. It’s about expressing yourself and having fun... there are no rules. Fashion by Becky Lightbody and Jenna Pikhola Photography by Josh Fray

plain t shirt, Primark. leather and suede coat by Daniel Fletcher.

Opposite: printed shirt by Daniel Fletcher, tartan trousers, H&M. This page: printed t-shirt, Vivienne Westwood Seditionaries reproduction. kilt, Edges of Time eBay store. printed socks, Primark. boots, Dr Martens.

polo shirt with floral pattern, blue and black trousers both Topman. gold chain necklace, H&M.

Opposite: plain t-shirt, Primark. neck piece by Daniel Fletcher This Page: tail coat , vintage. plain t-shirt, Primark. trousers by Daniel Fletcher. bow tie brooch, Topman. creepers, Demonia.

“ a new breed

of young iconoclasts

revolution ‘As seen in Blitz’

hoped to inspire

print shirt, Primark. green army jackets both vintage from Brick Lane. skeleton collar tips, Topman.

Opposite: print sweatshirt, Vivienne Westwood. shirt, Cheap Monday. trousers, Zara. neon socks, Topman. boots, Dr Martens. beanie, Topman. This Page: printed shirt, Karmakula. denim jacket, Levis. printed jumper (just seen), Cosmik Debris. Hair and make-up by Liz Bowden. Fashion assistant Jessica Calderwood, Model Fabian Kiss, MGM Marylyn Agency, Paris.


Still feeling the music? Lillie Cooper asks if we are in danger of losing our emotional connections to our favourite sounds


usic has huge presence in most of our daily lives – whether as something to provide background atmosphere or avoid uncomfortable silences when we meet with friends and acquaintances, to keep us lingering for longer (and therefore likely to spend more) in shops, restaurants or supermarkets as we go about our daily routines, to sell us products on radio and television, or to keep us connected to the emotional story line of a film. Sometimes we give music our undivided attention to suit our mood, calm us down, inspire us, celebrate or mourn because the lyrics and/or melody speak to us as forms of poetry, comedy or political statement – whatever you get from the sounds you like. The impact of music can be incredibly strong and sometimes will change our views of an issue or situation, depending on what we are listening to and how that relates to where we are at the time. I can’t be the only one who found Adele’s lyrics and melodies depressing until going through a break-up when they suddenly changed to something which spoke directly to me and seemed to understand and express some of my complex feelings in a way I hadn’t been able to articulate for myself. There is no denying that we have emotional ties to music and a particular song can have a major impact, altering out moods and impacting on our thoughts.


The ways in which we can listen to music have changed rapidly through the development of technology and now we find that not just new music, but even the music our parents (and our grandparents) listened to is being re-recorded in formats we can access, literally at our finger tips. We can even create and share across the planet our own music, even if we have notechnical or traditional musical abilities! Being able to download hundreds of tracks in minutes is amazing, but it seems to me that this rapid access at any time, from (almost) any place, means we have lost the capacity and significance of relating a specific piece of music to a specific time and place; the capacity to link a particular piece of music with the scent, sound and feel of a specific occasion has diminished. This ease of supply and increasing listening as individuals means that music can have less opportunities to contribute to a group memory, the ‘do you remember when we all ….’ type of experience which bonds groups of friends together. Music has also become more disposable – we constantly expect more and can quickly jump from track to track, without taking the time to listen and feel what a piece of music might be saying to us. I believe that music accessed through laptops and iPods or straight into our earphones, is less emotionally satisfying, unless it is a piece that we heard in a different way – perhaps live, or at


a festival, or from before these amazing advances in technology. I constantly find myself listening to no more than ten seconds of a track before switching to the next one - not because I have something else in mind but because it doesn’t hold my attention. It’s great to hear that some people are reverting to more traditional forms of music – i.e. records or even CDs. I don’t think anyone misses cassette tapes very much, although I do remember them as audio children’s books when I was very young! The physical presence of the record player or CD player gave us greater involvement in our music. We could pick a CD up, look at it, turn it over in our hands, open it, blow on it or clean it and even read stuff tucked inside. As a child, I had all my CDs lined up in perfect view on a designated shelf. I liked taking them down to look at the pictures even when I was listening to another CD. And as for my parents still keeping LPs and having a record player for the earlier part of my youth – well that was funny and quaint, but actually quite exciting to see the needle move and drop into the groove. How complicated, how slow that wait until the music started to play. I know they still have them tucked away. The LPs look absolutely huge, but what an opportunity for great art-work. Now, I can’t find my special tracks, lost among the thousands of others in my i-tunes library, which continues to expand like something out of control. Although I like the idea of having a huge range of choice, in practical terms it hasn’t worked for me. Everything merges. Nothing stands out. I loved owning CDs. Each was like a little treasure. I had saved up, chosen and purchased each one and each had meaning for me. When I look at them now, in virtually every instance I can remember why I chose that CD, who I wanted to share it with and what I felt about the music it held. The whole process required more effort, but was inevitably more satisfying than the ease with which we can download and then dispose of music today. I remember buying my first CD (Spice Girls) and how I listened to it time and time again and really treasured it. No one was allowed to touch the booklet inside and still to this day I have kept that CD - although my music tastes have dramatically changed it holds precious memories. Before I was old enough to want to buy my own CDs, I listened to those of my parents. Even now, I have strong memories of some of my Dad’s favourites. One album was called ‘Peter’s Friends’ which contained a mixture of songs from the movie of the same name. Every time I hear any track from that album, it takes me back in time to precious memories. With today’s disposable use of music are we still creating such strong memories of happy occasions?

With the loss of CDs comes the loss of album art. If you are lucky, when you are downloading a track, you may get one album cover image, which is seen as an icon. But you don’t get a whole little booklet, filled with imagery, graphics and text – and sometimes the lyrics if you’re lucky. What a loss! The album art used to be the deciding factor when stuck with ten CDs in my hands and very little money! I know you can browse the web to find our superstars’ faces, lyrics and occasional photo-shoots, but it’s not the same as holding something in your hands and, quite frankly, doesn’t seem to merit the effort. CDs are becoming more and more of a thing of the past, as we can see from the demise of music outlets on the high street. But clicking an icon to purchase an album isn’t the same as taking a trip to HMV, browsing the racks, queuing up to pay and bring your prize home, perhaps getting out and looking at the physical detail of your new CD on the journey. This is a greater investment of our time and energy and builds our connections with music. We are unlikely to cast a CD away within a few minutes of getting it home, unlike those tracks we access online and rapidly delete from our playlist. We may be grateful to be able to access our favourite music through our iPods, iPads, MP3s and everything else as we travel or work, but I don’t believe that these are the avenues through which we are most likely to find our favourite music - these have to be linked to significant moments, shared or experienced alone, when a special connection is made between a sound and our emotion which will last for a lifetime. It’s more likely that these special connections will be experienced in our early homes, with our friends, on a special occasion or at a live event. Getting the opportunity to see an artist or band live is a totally different experience to downloading an album and creates a connection you can re-live when you listen again to their music. I was never a huge Beyoncé fan, but after seeing her perform in May, I have her live albums on repeat because they take me straight back there, to her incredibly powerful performance, her fabulous costumes, the brilliant lighting and set and that incredibly feeling you get when you are part of a huge crowd focused on something specific. I just wanted to be Beyoncé – what more can I say? Still do. Music expresses so much of our nature. Professional musicians invest their time and talent and energy in performing and producing something that will share something of themselves with something of us. It deserves so much more than the throwaway commodity it has become. We need to re-connect. We really do need to feel the music.

‘It deserves so much more than the throwaway commodity it has become’










1 / Don’t Order More Than You Can Carry This just makes more work for the bartender. Try not to blatantly take advantage of Happy Hour by doing this. You can always come back later! 2 / Don’t Ask For Free Drinks “…But it’s my birthday” really doesn’t fly! Nobody likes giving away things for free, if someone came up to you and asked for £8 because it’s their birthday you wouldn’t be very happy either. 3 / Don’t Be Stingy, Leave a Tip Most bars don’t use service charge . They also don’t get paid an awful lot usually so even leaving a small tip after buying a round is a nice gesture. 4 / When it’s Closing Time, Leave! Last orders were called half an hour ago; it doesn’t take that long to drink a cocktail! Bartenders have lives and homes to get to. 5 / If It’s Busy, Don’t Order a Crazy Complicated Drink Especially if it requires a blender, this will cause a queue and the bartender is probably already sweating it. Try ordering a beer or a simple cocktail.

RAISING THE BAR Fifty Five Bar is your new go-to spot for the best cocktails in London says Becky Lightbody Fifty Five Bar is situated away from the hustle and bustle of Camden town; far away enough from the crowds of tourists, flyerers and goths but close enough to enjoy the culture of the famously diverse location. Jamestown Road holds a great location for the bar, surrounded by an array of wonderful restaurants and very close to the food market at the Camden Lock. The guys and girls at Fifty Five are true masters of the cocktail trade. I would compare Fifty Five to the haute cuisine of cocktail bars! There is an undeniable passion for cocktails, all the ingredients are fresh and you won’t find any of that squeezy cocktailin-a-bag rubbish in here. Along with the classic cocktails, you’ll find many you may have never tried before such as the Solero, Chilli Vanilli, and “Sorry about the Mess”. My personal favourite is the Espresso Martini, a drink that gives you a great kick before starting a night out!

If you feel peckish then no need to move from your seat, because they offer a great American-Diner-inspired menu with treats such as a classic Cheese Burger, Pulled Pork Sandwich, Nachos and also Vegan and Veggie options. The bar itself is very cosy, warm and welcoming. The walls are decorated with unique band artwork for artists such as Foo Fighters, Smashing Pumpkins and Pearl Jam. This sets you up for the kind of music they play here, you won’t find the Top 40 in this bar but a setlist of classic rock and indie – the kind that is bound to have you singing “Don’t Look Back in Anger” by the end of the evening. It really fits in with the feel of Camden as a whole so it makes a fantastic place to go after a harddays shopping at the Camden market and it’s little gems closer to the lock. It’s relaxed, unpretentious and you will always have a great visit. (Happy Hour 2-4-1, Monday to Saturday 6-8pm)



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WHATS ON IN LONDON Heres your directory of things to keep you busy in the big city this summer, we’ve even highlighted free events for you, so what are you waiting for?


100% Design A showcase of the newest and most innovative designs from all over the world. Earls Court Exhibition Centre, Warwick Road, Earls Court, SW5 9TA 18 – 21 September 2013 Admission is free, register at West Brompton

1-2-3-4 Shoreditch The ultra cool festival returns. Shoreditch Park, New North Road, Hoxton, N1 6TA 7 September 2013 Old Street


Affordable Art Fair Artwork that ranges from £40 to £4,000 goes on display. Hampstead Heath, Highgate Road, Camden, NW3 7JR 13 - 16 June 2013 Hampstead

Architectural Masterclass


Learn how to photograph architecture. Victoria and Albert Museum, Cromwell Road, South Kensington, SW7 2RL 15 - 16 June 2013 South Kensington


Bermondsey Street Festival Fashion shows, al fresco films and live bands can all be enjoyed at this festival. Bermondsey Square, Southwark, SE1 3UN 21 September 2013 London Bridge

BP Portrait Award The prestigious open competition for portrait painting returns for three months. National Portrait Gallery, St Martin’s Place, WC2H 0HE 20 June – 15 September 2013 Leicester Square


Camden Fringe Hundreds of quirky shows are staged across Camden. Camden People’s Theatre, 58-60 Hampstead Road, NW1 2PY 1 – 31 August 2013 Warren Street

City of London Festival A summer programme of music, visual arts, film, walks and talks. St Paul’s Cathedral, St Paul’s Churchyard, City, EC4M 8AD 23 June – 26 July 2013 St Pauls

Club to Catwalk: London Fashion in the 80’s Step back in time into a world of stone washed jeans and puffball skirts. Victoria and Albert Museum, Cromwell Road, South Kensington, SW7 2RL 10 July – 16 February 2014 South Kensington

Colourscape Music Festival Colourful visual art and music are combined for this festival. Clapham Common, Windmill Drive, SW4 9DE 14 – 22 September 2013 Clapham South


Designers in Residence The culmination of a year long programme which supports up and coming designers. Design Museum, 28 Shad Thames, Bankside, SE1 2YD 4 September – 12 January 2014 Tower Hill

Doodle Bar at Battersea A space where you have the freedom to doodle wherever you like and enjoy a drink and socialize. Weekly events, check the website for info 33 Parkgate Rd, SW11 4NP South Kensington


Electric Daisy Carnival The international summertime dance music festival comes to London for the first time. Queen Elizabeth Olympic Park, E20 2ST 20 July 2013 Stratford


Field Day London’s most forward thinking festival returns to the leafy green surroundings of Victoria Park. Victoria Park, E3 25 June 2013 Mile End

Film 4 Summer Screen An eclectic mix of movies are screened al fresco. Somerset House, Strand, Covent Garden, London, WC2R 1LA 15 – 26 August 2013 Temple


The Glamour of Belville Sassoon Traces the history of the couture company. 20 September – 11 January 2014 The Fashion and Textile Museum, 83 Bermondsey Street, SE1 3XF London Bridge

Graduate 2013



The biggest annual event for fashion graduates returns to Earls Court. Earls Court 2 Exhibition Centre, Warwick Road, Earls Court, SW5 9TA 2 – 5 June 2013 Earls Court

The Great Festival



A celebration of Britain’s national drink. Olympia, Hammersmith Road, Kensington, W14 8UX 13 – 17 August 2013 Kensington (Olympia)

Greenwich and Dockland International Festival Nine days of free theatre, dance and family entertainment. Greenwich, SE10 9HF 21 – 29 June 2013 North Greenwich >


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Royal Academy of Summer Exhibition


The largest regular contemporary art exhibition in the world allows anyone to submit work. Royal Academy of Arts W1J 0BD 10 June – 18 August 2013 Green Park

iTunes Festival A month-long series of top-notch free gigs. Roundhouse, Chalk Farm Road, NW1 8EH 1 – 31 July 2013 Chalk Farm


London Collections: Men The best menswear collections are showcased over two days. Various Venues 16 – 18 June 2013

London Fashion Week and London Fashion Weekend The high profile fashion event returns with the Spring/Summer collections and the spin-off that’s more accessible to the public. 13 – 22 September 2013 Somerset House, Covent Garden, WC2R 1LA Temple

Lovebox Festival One of Londons biggest festivals returns with headline acts Azealia Banks and Plan B. Victoria Park, E3 19 – 21 July 2013 Mile End


More London Festival The al fresco ampitheatre provides a summer of performances. The Scoop at More London, The Queen’s Walk, Bankside, SE1 2AA 1 June – 31 July 2013 London Bridge


Notting London



Suburban life is taken over by vibrant Caribbean spirit and extravagantly dressed dancers. Notting Hill, W11 3AG 25 – 26 August 2013 Holland Park



Open House Weekend Some of the city’s landmark buildings open their doors to the public. Bartholomew Lane, City, EC2R 8AH 21 – 22 September 2013 Bank


Paper Contemporary art works demonstrate the versatility of paper. Saatchi Gallery, Duke of York’s Square, King’s Road, Chelsea, SW3 4SQ 18 June – 29 September 2013 Sloane Square

Patrick Caulfield 30 paintings by the ‘formal artist’ are on display at Tate Britain. Tate Britain, Millbank,Westminster, SW1P 4RG 4 June – 8 September 2013 Pimlico

Ping! Kitchen, Bar and Games Room inspired by the game ping pong. 180-184 Earl’s Court Rd, London SW5 9QG Weekly events, check website for details Earls Court


Raindance Film Festival Small budget films take the limelight in the UK’s largest independent film festival. Apollo Piccadilly, 19 Lower Regent Street, St James’s, SW1Y 4LR 25 September – 6 October 2013 Piccadilly Circus

Sabastião Salgado: Genesis Extraordinary images of landscapes, wildlife and remote communities. Natural History Museum, Cromwell Road, SW7 5BD 11 April – 8 September 2013 South Kensington

Serpentine Gallery Pavilion by Sou Fujimoto Japanese architect Sou Fujimoto is the youngest architect to design the Serpentine Gallery Pavilion. Serpentine Gallery, Kensington Gardens, W2 3XA 8 June – 20 October 2013 Lancaster Gate

South West Four Weekender 10 years of the festival are celebrated with two days of dance music and mayhem. Clapham Common, Windmill Drive, SW4 9DE 24 – 25 August 2013 Clapham South

Summer Graduate Fair The largest graduate jobs and career fair of the summer. Olympia, Hammersmith Rd, W14 8UX 4 June 2013 Kensington (Olympia)


Udderbelly Festival An 8 week summer festival of the brightest comedy, circus, and cabaret shows. Southbank Centre, Jubilee Gardens, off Belvedere Road, SE1 8XX. 12 April – 14 July 2013 Waterloo


Vauxhall Fashion Scout Up and coming designers can showcase their work to industry players. Freemason’s Hall, 60 Great Queen Street, Covent Garden, WC2B 5AZ 13 – 17 September 2013 Holborn


Wimbeldon Championships Will Andy Murray finally end Britain’s wait for a winner? The All England Lawn Tennis Club, Church Rd, SW19 5AE 24 June – 7 July 2013 Wimbledon

Wireless Festival One of this summers most anticipated festivals with headliners Jay Z and Justin Timberlake. Queen Elizabeth Olympic Park, E20 2ST 12 -14 July 2013 Stratford


Zandra Rhodes Unseen Explore the archive of one of the world’s most distinctive designers. The Fashion and Textile Museum, 83 Bermondsey Street, SE1 3XF 12 July – 31 August 2013 London Bridge



Penrose loves...

Skateboard art What do you do if your beloved skateboard deck snaps in half? Well definitely don’t throw it away, Ed Wilson has shown that skateboard decks can have multiple uses, for him its sculpting. Using old skateboard decks, Ed creates heart sculptures which are cool, different and undeniably simple! Ed used to own a skateboard shop in Falmouth, Cornwall and this is where his unusual skill was first discovered. We asked Ed a couple of quick questions about his creations. How did the idea come about? The idea was derived from the necessity to create a display for Valentine’s Day in the skateshop I used to own. I had broken decks lying around from some of the local guys who skated and I initially intended to prime them in white paint and get some artist friends to create a series of artwork. As they were hanging around I had plenty of time to think about how they could be used. The curved ends lend themselves to the heart shape needed. I’m always


looking at how objects can be re-purposed or brought back to life and I enjoy doing it. Gives you a sense of achievement. How difficult has the process had been? I’d like to say it was a long drawn out thoughtful process but laying the pieces of the board perpendicular to each other and tidying the ends was all the development that was needed. It was then a simple case of screwing them together. They only took about 20 minutes to make. I suppose coming across snapped decks is not that common but If you know any skateboarders, ask them if they have any old decks and have a go at making one yourself. Although these sculptures may have started life for display purposes only, we think they would be a great idea for wall decoration or as a unique gift for someone special. Moreover, the fact they are so simple and easy to create means that pretty much anyone can have a go. So what are you waiting for? Get out there and get making!


I’M INsPIRED BY In Each issue, Penrose will ask an industry insider to doodle the one person who inspires them the most.


David Reeson Fashion Illustrator



“It’s my idea and that’s why I love it” ALEXANDRA SHULMAN

Penrose Magazine Issue One  

The team and I invite you to the first issue of Penrose, feeding the creative, culturally aware and talented individual.Originality is part...

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