Rich renaissance colours in velvet, lace and crepe reflect the mood for Christmas. Emphasis is on the shape of the body – necklines plunge, backs are bared, and skirts are slit in a demure, but wanton, fashion.
Photographed by John Bishop.
Scanned from 19 Magazine, December 1970.
Illustrated by Peter Weevers
(accompanying an extract from ‘Puffball’ by Fay Weldon)
Scanned from Cosmopolitan, February 1980.
Tessa Kennedy lives down amongst trees and flowers on the Bayswater edge of Hyde Park; on a broiling blue July day it seemed more like the South of France with mimosa yellow awnings over the windows, white iron table and chairs set up on the terrace. On the corner of a great white classical block of houses, it’s a garden flat — no agent’s euphemism — knocked together from two; in the centre are a pair of tiny courtyards Tessa is changing into conservatories so that flowers can flower all year round: her sons can also wheel their bicycles straight out of doors to play. They are Cassian, Damian and Cary Elwes., 11, 10 and 7, and there’s Dylan, the baby, 7 months old.
Inside, a dramatic maze of rooms opens off the central chocolate-varnished corridor; everywhere carpets, tapestries, tartan and Indian silks make endless patterns. The old wine cellars have turned into great scarlet felt lined storage cupboards like the ones she designed for the Donald Davies shop, no dust can creep in. The drawing-room converts to a cinema built when Stanley Donen lived there; Tessa has hardly changed this at all. The projection room has mighty machines like the Marble Arch Odeon, she has registered herself as Kennedy Previews and has a projectionist hired full time—to show films to friends after dinner once or twice a week, or a couple of James Bond epics for the boys: “They love it of course and get absolutely boss-eyed.” Her fascination with gadgetry extends to video tapes, high-powered headphones for the stereo, intercom and a splendid American push-button dial telephone you can ring in on but not out. With the push-button stuff are clumps of fresh flowers, dog roses, daisies, piles of cushions in antique fabrics or in the flame stitch tapestry she sews on plane journeys, her collection of walnut shell sewing boxes, photograph, paintings—including a quartet of Louis XIV’s wife and mistresses—and carpet in a different colour but the same pattern as the one she designed for Burke’s restaurant. Burke’s is one of her decorating jobs she likes the best—along with Sir George and Lady Weidenfeld’s house and the flat she made for John Barry in an office block overlooking the Thames: “We installed such powerful sound that it moves right across the river and people coming out of the Tate look quite dazed.” Now she is working on a couple of country houses, one is for John Aspinall, and offices for Polydor records, and several new ideas, like a sauna in a storage cupboard, to build into this family and garden flat.
Yes, that’s little Cary Elwes at the tender age of seven. And of course it goes without saying that I would kill for those Theas…
Photographed by Norman Parkinson.
Scanned from Vogue, September 1970.
Not only does leather feel good, it smells delicious, like a trip out West. Suede and chamois are even better than leather because they are so much softer and easier tow ear. They’re not as expensive as they used to be. Cheap they will never be if you want value for your money. Leather, properly looked after, lasts for age; in fact, the more beaten up and old it looks the better. So when it comes to buying remember that and invest in something safe – like the clothes photographed on these pages. Thy are not desperately in fashion but, on the other hand, they are not out and never will be…
Fashion by Caroline Baker. Photographed by Harri Peccinotti.
Scanned from Nova, October 1970.
Photographed by Guy Bourdin for a Charles Jourdan advert. Shoe is ‘Tokyo’, £20.50.
Scanned from Harpers and Queen, April 1975.
The black arts of what to wear next to your skin. Silk and satin, nylon and lace. Wickedly witty but not as black as they’re painted.
Hair by Jean Louis David. Make-up by Jacques Clement for Elizabeth Arden.
Photographed by Francois Lamy.
Scanned from Harpers and Queen, January 1979.
Katrine on the left, is our Biba model… Louise on the right is our Mary Quant model… Both chokers from Biba. Hair for both girls was by Didier from the Jean Louis Davide Salon, Paris. Make-up was devised by top French visagiste, Clement and photographed in Paris by John Bishop.
Scanned from 19 Magazine, December 1970.