fashion spring 2014
music guilt
life issue 7
nice to see you, spring
illustration by lydia coventry
seventh issue • welcome
hello. welcome to the guilt issue illustration by abbie parry
T
his time of year is a funny one – we say goodbye to Christmas and its spirits and are left with the guilt of its overindulgence, the joy soon forgotten as the added winter pounds feel like stones. New year injects us with a sense of positivity, excited to see what it’ll bring, and then there’s spring – the season of love, new life, blossom and hope. We can’t keep up. It’s the first emotion though, that can stick with you as an unwanted companion sat on your shoulder, but whether it belongs there is another question. Guilt can come in many forms, burning a hole in your pocket as it solidifies inside you, an unwanted heavy stumbling block that craves your full attention until you pack it up and place it elsewhere. Guilt for the white lie you told when you couldn’t face leaving the house. Guilt for giving in to getting a takeaway, again. Guilt for not keeping in touch. Guilt for sleeping in too late. Guilt for not just coming out with what you really wanted to say. Our biggest guilt though, is thinking any of those things matter. You can embrace sadness, embrace happiness or even embrace anger, but guilt – guilt is something you just need to learn to let go.
pebble
seventh issue • contents
seventh issue • contents
VII Voices (010) Is our view of love often much too narrow?
Music (046) Albums of the issue
(048) Physical music: digital ownership
(050) Live review: Bombay Bicycle Club
Fashion Food & Drink (052) A spring picnic
(054)
(014) A vision of me
(018) night of the temptress
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A baker’s dozen
One to watch: LEE BRWN
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Tea & Cake: Frieda’s Tearoom
Airing out the guilt
(034) Amish Androgyny
who we are Julia Denni • Founder Tazz Gault • Fashion Editor Wil Oxford • Assistant Fashion Editor Sally Rose McCormack • Music Editor Rosie Lord • Assistant Music Editor Sinead Houlihan • Chief Sub-Editor Emma Oriana Grewal • Assistant Sub-Editor Rachel Currie • Design & Production
we’d like to thank Abbie Parry • Charlotte Dart • Erin Grace • Frieda’s Tearoom • Hanna Kristina • Jenny Cooper • Jordan Ball • Joseph Kent • Lauren Anthony • Lee Brown • Lucy Fiebelmann • Lydia Coventry • Patrick Currie • Orla Wallis • Saskia Lawson • Sam Hollande • Sarah Hoey • Vikki Hutton
illustration by lydia coventry
the songs that made this issue lou reed guilty eurythmics sweet dreams feist the limit to your love lana del rey young and beautiful sara bareilles & ingrid michaelson winter song lykke li sadness is a blessing laura marling pray for me metronomy I’m aquarius rae morris from above johnny cash hurt
illustrations by jenny cooper
love, plural
words by vikki hutton • illustrations by jenny cooper
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feature • voices
For the longest time, dialogue on love felt like it belonged in the first person. That is, I think, how you figure out your interpretation; what you would stand for; what you think you deserve; what you imagine for yourself; and what you wonder someone else will see in you. These are common threads in our daily conversations and soliloquies as we learn to love, but they’re not always so elegantly worded – they’re just as present in our drunken insecurities and our reading-into of texts. Pretty much every aspect of our society pays into a ‘you and love’ idea. I don’t see why it shouldn’t – any number of individuals will tell you that falling in love was the most significant thing that’s ever happened to
them, and I’m too much of a romantic to doubt that. Plus, we’ve reached the point where you don’t have to sacrifice your independence for that dream; where others have fought to make that dream one of equal opportunity. To my mind, that makes us pretty lucky in love before we’ve even started. But it’s a tiny injustice to see love only as singular, and to appreciate it only as and when it relates to you. Now that I have loved enough to know myself better, and little enough to have forgotten the feeling of really needing someone else, what I’m learning – being comfortably out of love – is that it goes way beyond me. This is what I would call love, plural. I remember the first time I felt it. It was
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feature • voices
almost two years ago, when I went to my first wedding; the first wedding of two friends of my own, rather than friends of my family, or of a friend of a friend. Although at the time I was probably still losing sleep over my love loss in
with our own. We look at other people’s adventures, we pick flaws and set benchmarks or gain insecurities. Sometimes we reduce entire relationships to debates about who’s punching above their weight.
We trivialise other people’s commitments when we’re unhappy with our own
I guess in some cases that’s forgivable – there is such a thing as being smug and in love and those people may need to be ‘unfollowed’ on Facebook. But where possible, I want to remind myself of the selflessness that comes with standing on the edge of an aisle and watching a friend walk towards a man who deserves her (if ever there was one) and who makes her happy. I want to give them a moment’s thought and really appreciate the beauty in what they have found, now that I’m happy not knowing if or when our paths might align.
the months beforehand, for just one day I was completely besotted. That day was perfect, not least through lack of comparison – lack of ‘self’. It wasn’t about what I had, or did have or would have anymore, it was about them. Even a football themed table plan couldn’t taint my rosy outlook (trust me, at one point I would have said that was a deal breaker) and yes, obviously I cried at the first dance. At weddings people always do, even if it’s a song they would never choose themselves. I realise now how much we trivialise other people’s commitments when we’re unhappy
My second wedding is coming up this month. There will be my good friend the bride and her groom, my two best friends with their wonderful boyfriends, and me. I could have taken my plus one, but I decided against it. There will be more than enough love at that table for me to be raise a glass to.
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feature • voices
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A vision of me Plunging to the depths of her soul for her art, self-portrait photographer Sarah Hoey creates breathtaking images that explore both darkness, light and self-expression
words by wil oxford • photography by sarah hoey
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fashion • interview
What do you try to explore in your photography?
A photograph supposedly portrays a thousand words. Therefore, self-portrait photography has the possibility to represent the many facets, quirks and traits of our personality through just a single image. Photography has the ability to speak where words fail. Sarah Hoey is well acquainted with the art of self-portrait photography. The Illinois-born photographer already has an impressive body of work aged just 25; photography designed to take viewers on a journey into her alternate reality to experience its beauty and often darkness.
I like to explore darker and scary themes. Sometimes they can be uncomfortable to look at but that’s the whole idea. I’ve always felt that even on sunny days, there are still shadows, and that’s what I try to bring out in my images. I just feel like the world tries to flood us with sunshine and flowers, and I’m here saying ‘no, it’s not how it is – this is what it is actually like.’ Much of your photography is self-portrait oriented – how do you use the photographs
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fashion • interview
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fashion • interview
to represent aspects of yourself?
I love the freedom it allows me to create anything I want. The only thing that can hold me back from creating photographs is myself, and sometimes that’s the biggest obstacle.
I think a good photographer is someone who constantly pushes themselve to create what they love
That’s a good question. I’ve never been very good with expressing myself through words or actions, so photography is really the only way I know how. I guess doing selfportraits help me show others a different side to me than what people see at work or at family functions etc. Being able to create selfportraits shows the world that I’m a lot deeper than what’s on the outside. It can show a sadder, darker, or even a sillier side to me.
What do you think makes a good photographer?
Some people would argue it’s the image quality, or the equipment, or how much the photographer knows, but I think a good When you get an idea for an image in your photographer is someone who constantly head or an idea of what you want to represent, pushes themselves to create what they how do you go about constructing that into a love, and pushes those boundaries within final piece of work? themselves. It’s someone who you can instantly tell has a complete passion for I try to plan out every detail so there aren’t any what they do, and even if the images aren’t hiccups during shooting or processing. It can prizewinning, you can still see it. It’s someone sometimes take months to get everything right who stands by their work proudly, and enjoys before I even start shooting. Most of the time I everything they do just for the pure joy of it. keep a sketchbook handy, or something to draw on at least, and I try to draw or write out each Where do you hope that the future takes you idea I have. The drawings and descriptions and your work? are pretty crude at times, but as long as I can understand it several days later, it’s not so bad. I would love to teach people what I know. Being self-taught, I know how frustrating it What’s the biggest extreme you’ve gone to in can be not to know how to do something, in order to get a photograph? fact I almost took one of my cameras back the day I bought it because of all the bells and Laying completely naked in the snow – the whistles on it – I was completely overwhelmed, worst part was the image didn’t even turn so I’d love to help out others who feel they out as hoped! I’ve done a few strange things; are struggling. It would also be great to travel going on roof tops, breaking into abandoned more with my photography. I feel like that’s a buildings, laying half inside a giant hole about clichéd answer, but it’s something I’ve always 8 feet deep, lying on a dead and decayed cow. wanted to do since I was a little girl. I’m sure there’s more, and I’m sure there will be even crazier extremes in the near future. See more of Sarah’s photography on her Flickr What is it about photography that you love? or on Facebook, and on thisispebble.com.
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night of the temptress photographer saskia lawson • makeup, hair and nails lauren phelan • model akvile @ profile
one to watch: lee brwn House music, NYC bondage, sparking water, 80s twists, all belonging to one man full of classic sophistication and desire to make demure turn powerful. Meet LEE BRWN. words by tazz gault • photography courtesy of lee brwn
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fashion • LEE BRWN
An endearing smile, an infectious giggle and a determined mindset make his label LEE BRWN a success, and Lee Brown is one of the nicest men I have ever had the fortune to meet. Chatting across an innocent soft drink in a rustic café just off Wardour Street in London’s Soho, it’s clear to see that Lee is driven by a desire to paint out a fashion concept women would quake at the knees to buy into.
want to be mass produced. I want my work to be exclusive and that’s why everything is available through made to order. A lot of emerging designers who I admire their work, I feel it’s just so available that people lose interest so quickly. I want to build a brand identity so people can be part of my story.”
He’s captivating – a man full of dreams and desire who works by giving a token of himself “I’m trying to establish something that’s more within each exclusive piece he makes, all about building wardrobe classics,” he says designs existing just 20 times. Sewn delicately with firm certainty that’s lovable yet strong within the lining is a number – allowing you whilst we try to achieve a natural snap. “I don’t to wear your piece to the puzzle. “I think that
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fashion • LEE BRWN
fashion • LEE BRWN
kind of personifies exclusive, personifies what I’m trying to do here,” he nods. “It is a British brand and everything is manufactured in the UK which is extremely important. I want to make sure the quality is there – people who want to invest into timeless wardrobe classics are looking for impeccable standards.”
People then get excited when they show the smaller, refined details.” The guilty pleasures continue… “I really like house music too,” he laughs, uncontrollably at first as though it may have caused an offence, when really my guilty pleasure is quite the same. “I don’t know if that really goes with being cool and fashionable, but I always have and I don’t know why! I used to listen to it when I worked, but that’s normally at 6 or 7am. Something more chilled through the night is definitely more appropriate now!”
I want to build a brand so people can be part of my story After living in New York for six months, Lee’s work doesn’t seem confined by the laws of London, describing it himself as a “NYC Parisian twist on fashion”. It’s the demure, striking women he’s after – a juxtaposition both unusual yet loved. “I am obsessed with how they dress in the movie Party Monster – obsessed with NY in the late 80s and early 90s. All the crazy bondage wear which is so cool! I think that shows power, to go from demure to that, especially in a woman who is so confident with her body. I think that comes down to the whole not revealing too much.
His design is quite straightforward, balancing along the stepping stones from research to sketching, toiling to the final piece. “A lot of people find their inspiration from draping shapes, but for me I always think it’s good to start with a reference to something,” he remarks, taking a sip of sparkling water to clear his throat. “Many times whilst I was at Central St Martins, I didn’t know what fabric I’d make the final piece in. That meant the difference from the toiled piece to the finished project was huge. You learn from your mistakes, and that’s when you get amazing results.”
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airing out the guilt
photography and styling charlotte summers • model jennaphotography macfarlane by charlotte dart • assistant rachel cumming
From left to right: Asos, Topshop, Liquorish, Topshop, Topshop
amish and photographer hanna kristina • stylist arabelle midwood • make up bianca barrett • hair aaron overton • models silvia, valentina and tabitha @ first model management
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drogyny ( 035 )
left to right (previous page same as this page) valentina: shirt luella • gloves model’s own • bow stylist’s own • dress helmut lang • tights walford • boots zara tabitha: dress shirt lyn oaks • dress helmut lang • tights walford • boots zara silvia: dress shirt lyn oakes • dress helmut lang • tights walford • boots zara
left to right valentina: lambswool poloneck uniquo • waistcoast stella mccartney • leather skirt sparkle and fade • leggings bdg • boots zara • braces stylist’s own tabitha: sleaveless poloneck costume national • leather trousers sparkle and fade • cape maison martin margiela • boots zara silvia: lambswool poloneck uniquo • dress shirt lyn oaks • leather skirt sparkle and fade • boots zara • socks walford • fedora hat lyn oaks • ribbon stylist’s own
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left to right valentina: dress etro silvia: merino wool poloneck uniquo • jacket helmut lang • leather skirt michael korrs tabitha: brocade dress temperly • bow stylist’s own
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left to right silvia: poloneck uniquo • skirt topshop valentina: shirt luella • jacket helmut lang tabitha: poloneck uniquo • bespoke jacket lyn oaks
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left to right tabitha: coat stella mccartney • shirt all saints • leggings bdg • boots zara Silvia: dress shirt lyn oaks • leather trousers costume national • boots zara Valentina: shirt zara • leggings sparkle and fade • coat stella mccartney • boots zara
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music • album reviews
albums of the issue our clever music editors have hand-picked three of their favourite recent releases. to discover the rest, visit thisispebble.com
Sometimes you just need to go back to your Myspace profile, regret ever getting a side fringe and rediscover some of the greatest bands of your young indie infatuation. Peggy Sue have been around for a while, getting pushed into categories with same old same old folkie banjo wranglers Mumford and Sons and the like. However with each release Peggy Sue seem to be edging themselves closer to getting some significant and welldeserved recognition as much more than just a bunch of folk singers. Their third studio album Choir of Echoes is exactly what it says on the tin; made up of their regular harmonies, the lifts, the falls and the at times chaotic backing track. Why fix what ain’t broke? The opener ‘(Come Back Around)’ is a Rosa Slade and Kitty Young classic. They have voices that were just made to be mixed together, so they give it to you straight off the bat. The songs lollop through a very recognisable pattern for a while, unlike their 2011 album Acrobats which had harsher, darker undertones.
Choir of echoes Peggy Sue Sally Rose McCormack • 7/10
Choir of Echoes doesn’t really take any daring leaps in terms of the band’s musical progression, however it does feature a trumpet. It’s just a classic Peggy Sue album, which is nothing really to complain about.
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music • album reviews
Warpaint warpaint Sally Rose McCormack • 8.5/10 If Spice Girls had been American and had a thing for sparse art rock, then we’d have had Warpaint a decade earlier. ‘Intro’ is a lovely two minute build up to the rest of the self-titled album, almost like a chant desperate to get Warpaint out on stage or, in this case, out of your speakers. Stella Mozgawa’s drum line in ‘Intro’ is something that undoubtedly sounds like pure musical adrenalin when played live. The album fits together very nicely, with each song flowing in to one another, like the harmonies between the four of them. Nothing comes across as out of place or forced in to top the album up. It all seems well planned and thought out, yet it still has fluidity to it. ‘Son’ and ‘Drive’ are lovely little closers, with Warpaint’s own brand of delicate speckled throughout, from the soaring dreamlike melodies to Joni Mitchell-esque vocals.
Quiet confidence ninetails Sally Rose McCormack • 7/10 A dreamy euphoric atmosphere that somehow falls into a wet dream from a 90s boy band is everything Ninetails’ latest release Quiet Confidence seems to embrace. The trio from Liverpool has waited a year to throw us another bone of pop goodness, which has come in the form of a rather confusing jumble of trumpets, harmonies and samples. It bounces from one corner to another, everything echoing around each other - but they seem to pull it off. It wouldn’t come as a surprise if Ninetails’ music ended up in some student photographer’s showreel. ‘Radiant Hex’ and ‘An Aria’ stand out as maybe the most approachable songs if you aren’t quite ready to dive head first into the dream sequence that is Quiet Confidence, with their friendly beats and easygoing melodies. It’s certainly an interesting EP that you really need to listen to closely to appreciate; even if you are left slightly confused by the whole experience.
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music • let’s get physical
physical music
sam hollande
Musings on what it means to own a physical copy in a world of digital versus streaming
music • let’s get physical
Traditionally, ‘physical music’ is thought of as CDs, Vinyl, and instruments even. But I would make a case for digital music. And yes, by definition ‘digital’ is certainly an intangible piece of data. But that data sits within a storage device, which definitely has a physical form, so I’m going to bend the definition of physical for a second to suit my means and just move on. My reasoning for this poorly put together justification is I find myself more appreciative each day for the existence of digital music. Over the years I have amassed a fairly vast library of tracks, albums and compilations; all of which I’ve been able to immerse myself in, as and when I feel like it - and all because of the freedom permitted by the digital medium. I use the term freedom because I feel other options lack it; there are restrictions put in place that hinder and impose. While there are the obvious limitations of CDs being cumbersome and delicate, they have their place, still being one of the best ways to play music through a sound system. No, the main offenders here are loathsome music streaming sites that act as an ‘in the cloud’ means of storing your meticulously crafted playlists (as long as you have an internet connection of course) on which you are subject to listen to adverts. Yes there is a vast supply
of music to listen to there and links to similar artists you might enjoy, but not before being force-fed content you don’t need or want - like some sleazy car salesman buttering you up with feature upon feature only to sweep the rug out from under you and offer you a mop you don’t need. This, all under the guise of ‘convenience’ and ‘accessibility’ when really it’s nothing but a platform for more advertising. A portion of each track listened to does go to the artist, but I would much rather give the artist money directly and permit myself the freedom to listen to what I like, when I like. Some might embrace the convenience of an online streaming service, but I would argue that instead of this reliance on streaming, there is a certain gratification to setting yourself the task of finding a copy of that tune you just heard on the radio or an album and making it your own. This is why I insist on owning the digital versions of any music I own – freedom to listen when I want to listen. Not bound by limitations or forcefully subject to clawing jingles and people offering me cheaper car insurance. Maybe I’m a bit of a Luddite with regards to streaming music and maybe there is something to be said for the range of music available, but it will never be enough to erode the fondness I have for my own personal library of music and the comparative freedom it gives me.
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music • live review
bombay bicycle club
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music • live review
bombay bicycle club • hippodrome, kingston words by jordan ball • photography by paul hudson
With their fourth album So Long, See You Tomorrow primed for release the following Monday and a mammoth European tour planned over the coming months, Bombay Bicycle Club travelled out to the periphery of their home city, to Kingston’s Hippodrome, to play a special release show for the record, open to anyone with fourteen years and ten pounds to their name. Half an hour before their planned stage time, a sea of youths still snaked their way up St. James’ Road alongside the venue. With so many attendees very close indeed to the low age limit, it was noteworthy to work out that those going to the show as a 14-year-old tonight would have been just six when the band first exploded onto the scene as the winners of Virgin Mobile’s unfortunately uncool Road to V” competition - a fact the Londoners are probably sick of being reminded about (amongst constant memos of their name, which they couldn’t seem more regretful of). The venue’s insistence of herding hundreds of hyper teens through metal detectors forced
a delay to the beginning of proceedings, but with the show pencilled in to start as early as 8pm, there was no fear of broken curfews. Eventually emerging to a rapturous reception, the BBC ripped straight into doing what they’d come to do: showcase the album, which was to hit #1 in the UK charts the following week. The opening eleven songs consisted of eight brand new ones, the stand out being recent single ‘Luna’, which soared into another dimension in its live embodiment. A peppering of songs from 2011’s album A Different Kind of Fix kept the crowd on their toes, but by now they were itching for a deeper dip into the back catalogue. And it was delivered. A trio of cuts from debut album I Had The Blues But I Shook Them Loose was all the crowd needed to really loosen up, with ‘Evening/Morning’ warming up for the sore throats that ‘Always Like This’ provided and the sore bodies that ‘What If’ brought to the table. Emerging again for a final sign-off with the slow burning title track of the new album, the band bid so long, and we all wished we could do it again tomorrow.
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a spring picnic Roast chicken, chorizo and mozerella with red pesto, spinach and sundried tomatos on ciabatta Pork, mushroom and red pepper kebabs Wild herb and tomato couscous with a hint of chilli Courgette, feta, rocket and pine nut salad Sweet coconut and vanilla flavour Propercorn Parsnip, beetroot and sweet potato crisps Mini meringues with wild berries and clotted cream Frozen yoghurt and granola cupcakes with chocolate shavings Mini chocolate brioche with cherry dipping sauce Fresh homemade raspberry lemonade
a baker’s dozen Baking from scratch is a magical process. One man and his microbakery reveal some kitchen secrets recipes by patrick currie of naturally bread photography by rachel currie
food & drink • recipes
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food & drink • recipes
Bread hearts Makes one small/medium loaf
Ingredients
Method
Keep yeast, salt and maple syrup apart until mixing together (sugar and salt can stop yeast working). Put 10g fast action dried flour into a bowl, yeast on one side, maple syrup and yeast salt on the other side of the flour. Pour in the water and use your hands to mix together slowly at first and 10g salt then more vigorously until all mixed to form a sticky 1-2 tbsp maple syrup but malleable dough (wetter is good but you need to be able to handle it fairly easily). Tip dough on to a 250-300ml cool clean surface coated with olive oil. water (enough to Knead the dough for 5 - 10 mins. It’s ready when you make the dough push your finger into it and the dough springs back wet but not so you immediately. Form a ball with dough and leave in a can’t get it off your lightly oil coated bowl with a wet tea towel over the hands) top of bowl for at least an hour (up to 4 or 5 hours) to allow to bread to prove (rise) - can be left over night. 500g bread flour
Tip dough on to lightly floured surface and knock it with your hands to let the air out. Form into two sausage shapes of equal size. Use the palms of your hands and roll the sausages out from the centre. Too much flour on the work surface can make it difficult to roll - using a very little bit of olive oil can make the surface stickier and then easier to roll the sausage. Line two sausages side by side, put two ends together and press on to surface to join them at an end - then lay one over the other in a plait form until you get to the other end. You can grab each end of the two plaited sausages and twist until you’re happy with the look of it. Form a heart shape and place on a lightly oiled baking tray. Push it into shape on the tray if you need to. Leave in a large plastic bag (not touching the dough) and leave to rise for 1 - 2 hours. Take out of the bag and bake for 20-35 mins at gas mark 6 or 200C. ( 057 )
Cheese and olive sticks Makes 12
Ingredients
Method
These sticks follow the same method as the bread hearts 10g fast action dried (see previous recipe), but when yeast you roll out the sausage shapes, get them all to an equal length 10g salt of your choice and flatten them 1-2 tbsp maple syrup down with your hand on to the work surface. Sprinkle with 250-300ml cool grated cheese and place a water (enough to line of halved olives along the make the dough flattened sausage of dough. wet but not so you Squeeze the dough around the can’t get it off your olives and pinch it together hands) the cheese will help it stick. It doesn’t matter if it flattens out 2 and a half dozen again in places - it’s artisan olives so won’t be perfectly shaped! Folding over about 1cm of each 200g cheddar (add a pinch of parmesan end of the sausage shapes helps to gve you a handle to lift to each for extra them on to the tray. flavour) Place the sticks on a lightly oiled baking tray and bake for 15 - 20 mins at 200C or gas mark 6. ( 058 ) 500g bread flour
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food & drink • recipes
Blueberry, white chocolate and apple muffins Makes 9 -12 muffins Ingredients
Method
200g unsalted butter
Preheat oven to 200C or gas mark 6. Get 9 or 12 muffin cases ready. Cream the butter and sugar together with a wooden spoon in a large bowl. When light and fluffy, whisk in one egg at a time.
150g caster sugar 4 medium eggs 200g bread flour 1.5 tsp baking powder Pinch of salt 100g of white chocolate 175g of blueberries 1 apple
Sift in the flour, baking powder and salt together over the mixture and fold in lightly. Do this until it is only just mixed together - don’t over do it or you’ll get flat muffins. Chop the apple and chocolate into small chunks. Add about half of the white chocolate, apple and blueberries and fold in gently. Half fill 12 muffin cases (or 9 cases if you want big muffins), put in a small lump of choc, or a piece of fruit and then fill case with remaining mixture. Plop a fruit or chocolate piece on top and put in the oven for about 15-20 mins. Check by pressing finger very gently on the muffin, which should be golden brown and spring back when ready.
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food & drink • recipes
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tea & cake pebble’s newest profile of a cafe favourite is a cosy cake haven words by devon francis • photography by charlotte dart
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food & drink • tea & cake
The venue The large wooden tables and exposed brick are reminiscent of a cosy farmhouse in Somerset – it’s the adorable, kitsch finishing touches and lively atmosphere that make Frieda’s Tearoom, Bournemouth so special. Its homely warmth and mismatched painted furniture, heart shaped bunting and our wonderful waitress Danielle in her Cath Kidston apron – what more could you ask for? What’s on offer It’s a combination of fresh, locally sourced produce that wets your appetite for a taste of everything. Incorporating in the seasons whilst offering good value for money, you can grab yourself a real fruit smoothie or a warm cup
of coco. We suggest a slice of carrot cake – a homemade delight to say the least with its flavours hitting all the right spots. Coffees too are presented in cute mugs and sauces to round off the experience. Perfect for Frieda’s could suit anyone, whether you’re a student who fancies a cheeky high tea experience, to get a break from the office or for the elderly to rest and relax. Whatever you’re doing, it’s clear that Frieda’s Tearoom is the place to pause for an intimate cup of tea and cake – whether it’s a good strong coffee and flick through your book, or a hearty breakfast to start your day - Frieda’s may just be your new best friend.
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Enjoy the spring. See you again when summer comes around
illustration by lucy fiebelmann www.thisispebble.com