71
POWERLIST 2008
6
CAROL LAKE
Managing Director: Head of Philanthropy, Sponsorship and Diversity EMEA, JPMorgan
CAROL LAKE is perCAROL LAKE haps the most infl uential development programme that was launched
black woman in UK corporate banking. Why? as a joint venture with Women’s Forum for
Because in her role she affects so many areas the Economy and Society.
of the institution she works for. And because And she devotes a lot of time to her
she has made such an impact at JPMorgan, sponsorship and leadership of the UJIMA
other investment banks are beginning to project, which allows for regular networking
imitate what she has done. sessions of the bank’s visible minority
Carol’s job straddles the people side employees from all levels of the organisation.
and the investment side of the business. So, As for her own rise up the corporate
while, on the one hand, she is responsible for ladder, Carol says most of her jobs (senior
bringing a commercial benefi t to JPMorgan marketing management positions in fi rms
via the high-net-worth individuals and such as British Telecom, Cable & Wireless
institutions she interacts with, on the other and McDonnell Douglas) resulted from
she has led a range of initiatives that have fortuitous networking. She has pledged to
positioned JPMorgan as a market-leading assist as many deserving female and visible
investment bank in diversity. minority aspirants as she can to participate
The ideas she has championed for in the continuing diversifi cation of Britain’s
the advancement of women and visible boardrooms.
minorities are second to none. Chief among Outside work, Carol sits on boards of the
them has probably been the Inclusive Young Vic and Battersea Arts Centre. She
Leadership Council, which spawned the also contributes to the Equalities Review and
Black Leadership Forum. She was also several other forums exploring solutions to
instrumental in JPMorgan’s female talent inequality in British society.
5
PAT McGRATH
Global Cosmetics Creative Design Director, Proctor & Gamble
WHEN AN authority as well respected in the and models approach their craft.
fashion world as Vogue dubs you the most Pat was commissioned to develop
infl uential make-up artist in the world, it Armani’s cosmetics line in 1999 and
means you’re pretty good. appointed as Proctor & Gamble’s global
When they go on to say that every time a creative design director in 2004, putting
woman looks in her handbag she takes out her in charge of cosmetics brands such as
something of your style, the plaudits don’t Max Factor and Cover Girl. The launch of
come much louder. Pat’s latest Max Factor line has met with
Pat’s fi ngers are, perhaps, the most enthusiastic approval.
valuable appendages in the fashion industry. Renowned for her coolness under
While most make-up artists employ pressure, Pat has been the make-up artist
brushes to ply their trade, she utilises of choice for designers such as Dolce &
her digits to stunning effect. Pat was born Gabbana and Stella McCartney, while her
in Northampton and raised by Jean, her refi ned touch is regularly sought by Oprah
fashionista Jamaican mother, to love the Winfrey (who allegedly cried with joy at
fashion and beauty milieu. Her career began the results the fi rst time Pat did her make-
in an explosion of innovation, her work at i-D up), Jennifer Lopez and Sarah Jessica
magazine during the early ’90s cited as a key Parker.
component in the periodical’s international As American Vogue’s Creative Director,
rise. She was headhunted by Prada and Miu Grace Coddington, said: ‘Other make-up
Miu and created a make-up line that many artists have off-seasons. Pat just gets
observers claim changed the way designers better.’
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128