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Marianna Kennedy, Designer

January 5, 2010
by the gentle author

Behind this enigmatic facade – lettered W&A Jones – at 3 Fournier St, directly across from Christ Church Spitalfields is the showroom, workshop and home of designer Marianna Kennedy. You can even see Nicholas Hawksmoor’s spire reflected in the crown glass panes of her shopfront.

For years, I have walked past this place and wondered what goes on here, so I was very excited to go inside and meet Marianna in person. Entering through the door on the right, I found myself in a bare eighteenth century hallway, the austerity punctuated by a single bunch of mistletoe hung above the foot of the old stairwell, where I was greeted by a woman dressed in elegant charcoal tones who spoke with a soft Canadian accent. Marianna invited me upstairs and I followed in her footsteps until we arrived in her beautifully proportioned panelled living room. As I craned in wonder at the window, looking down onto Fournier St and raising my eyes to the steeple towering overhead, Marianna busied herself screwing up newspaper with professional aplomb. She was lighting a fire in my honour, so we could enjoy a fireside chat.

Observing my curiosity, Marianna offered me a tour of the house and then, with a playful levity, she was off again, vanishing from the room like the White Rabbit. I followed her up more stairs, round and round, with each storey offering a new perspective backwards into all the secret gardens and yards that comprise the spaces between these ancient houses in the shadow of the church. There are so many of these wonderfully irregular old staircases in Spitalfields, each with their own creaking language and each leading to surprises. I hope to explore them all, in time. At the top of this one, we turned sharply and ascended a final narrow flight, barely two feet wide, to pass through a door and arrive on the roof where, hidden behind the parapet, Marianna has created an astounding secret garden with a wildflower meadow. The rooftop is on a level with the bell tower of the steeple across the road, and Marianna stood patiently in the frosty meadow with all the mysterious poise of a heroine in a Wilkie Collins novel – while I gazed across the rooftops of Spitalfields, admiring the ramshackle irregularity of the old tiled roofs and chimney pots.

Once we were back by the fireside, Marianna settled into a wing chair illuminated by the morning sunshine and became eloquent in her affection for Spitalfields and the architecture of the old houses here. She explained that she first came to stay in Fournier St twenty five years ago while a student at the Slade. Marianna and her husband renovated 42 Brushfield St (the house with the sign “A. Gold, French Milliners”) before taking on the current property in a derelict state, prior to their repairs, ten years ago. Working with the Spitalfields Trust over all this time, Marianna has developed a sympathetic instinct for the enhancement of these wonderful spaces through the subtle use of traditional paint colours and careful choices of finish for panelling and old floors. “It is all about lack of ego, restraint and humanity,” she admitted to me. “You can make something look so natural, like it has always been there,” she explained, before adding significantly “- that is a very hard thing to do.” Certainly, Marianna’s home confirms this aesthetic, a working house with elegant functional spaces which serves as the ideal showplace for her snazzy furniture designs, that she delighted to show me (and which you can see on her website by clicking on her name at the top of this feature).

Above the fireplace in her living room is a huge bronze foliate mirror with tinted mercury glass to Marianna’s design, here in a corner is a chic little lacquerwork table with cast bronze legs, hanging against the stairwell window is a dazzling collection of colourful transparent resin casts of old plasterwork details and in each room there are the lamps of traditional design, also cast in brightly coloured resin – these lamps are her signature pieces. All these designs are unmistakeably contemporary and yet, because they are skillfully made by craftsmen using techniques that have been around for centuries, they compliment the interior of the old house perfectly.

As we made our way down to the shop to say goodbye, Marianna showed me her two prized chairs that she rescued from The Market Cafe when it closed and then, as we parted, I congratulated her on her achievement in recreating such a beautiful house. “It still has its magic,” she said with understatement, and, after my unforgettable experience that day, I can happily confirm her assertion.

Marianna Kennedy

Portrait copyright © Lucinda Douglas Menzies

7 Responses leave one →
  1. January 5, 2010

    Marvellous piece. How I wish I could see the rooftop meadow and some photos of the house!

  2. January 5, 2010

    Ah! maybe some of the photos of her work on her own site show the interior; they will have to do….

  3. Ian Harris permalink
    January 5, 2010

    Wonderfully evocative!

  4. Anne permalink
    January 5, 2010

    I love your description of this wonderful building. I am almost sitting there by the fire.

  5. Wm.T.Kennedy permalink
    March 11, 2010

    Marianna Has always been something special from the day she was born.But so are her brothers and sisters each with there individual remarkable talents and accomplishments.
    The artistic side I believe comes from my side of the family background and the scholarly
    side from their mothers side.
    Mary and I had five very wonderful children and as Dad here loves to say (Not a Dud in Five)
    Take Care,
    Wm.T.Kennedy

  6. Ciaran Lennon permalink*
    April 8, 2012

    Wonderful to see that Marianna had maintained her love of and appreciation of things well made, treasures…..as indeed she is a treasure.

  7. Anne Watts permalink
    May 28, 2012

    I would love to visit this house again. In the 1950s and 1960s my father leased two rooms at No. 3 from his friend David Kira, a banana importer who owned numbers 1 and 3. My father had a costume jewellery manufacturing business in two rooms on the first or second floor – can’t recall which. I remember the wonky floor boards, the tiny basin on the landing and the rickety stairs. As a child, I went up those stairs wondering whether they would still be there when I had to come down again.

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