‘Award winning international designer Alidad has had over thirty years’ experience in interior architecture and design. His extraordinary projects have led him to be included year on year in Architectural Digest’s AD100, Elle Décor’s A-List, House and Garden’s Top 100 Interior Designers and Country
In order to design a room that felt restored rather than created from new, there are many historical references including that of the traditional Portuguese tiles, Oriental painting, '40's style chandelier, Louis XV chairs and nineteenth-century repousse brass lamps.
I chose these newly made traditional Portuguese tiles for their perfect tones of aged blue, white and pink, as well as the fresh and lively effect they have on the rest of the scheme.
My own east-facing sitting room is sunny and bright and I love its cheerful character. Vertical plaster filets with tiny mirror insets create subtle stripes that divide the room in a refreshing way.
I use textiles and pattern in a rich and harmonious mix that draws you in and ultimately gives a room its comfortable appeal. However if you look closely there are the Alidad plains that create that harmony. I have used a seventeenth century Flemish tapestry, a late nineteenth-century Suzani as a tablecloth, a red cut-velvet nineteenth century Italian cushion with another cushion on the green velvet chair that is made from an eighteenth-century needlework.
This table scene includes an old master drawing, an early example of a religious apostle and a nineteenth-century bronze figure. I don't keep count of the many different eras, cultures, arts or crafts involved in one room, as I work instinctively to bring everything together so the room feels as though it has been worked on over time with love and great attention to detail.
This first view of a London drawing room shows the comfort created within a space when you place the furniture in separate groups and therefore create the correct flow of space within the space.
The same room as the previous image, the two parts of the room are joined by centrally positioning a strong pinkish-red ottoman that enables one side of the room to 'speak' to the other. I searched to find this overscaled fireplace and the impressive Chippendale mirror that hangs above in order to set the right tone of modern grandeur that balances beautifully with the stunning seventeenth-century tapestry, from Peta Smyth on the opposite wall.
The de Gourney wallpaper, coloured specifically to this intense mustard shade with fresh highights of off-whites and reds - sets the tone for the rest of the decoration in this room. The balance of colours is acheived through the repeated use of off-white in the curtains, the marble fire surround and the Aubusson rug, all of which set off the white flowers in the chinoiserie wallpaper. Mixing old and new furniture is very important, here the mirror and the wall brackets are antique, while the Japanned secretaire has been made from reclaimed antique elements. Both the sofa and the Louis XVI-style chair are newly made for the space.
The restoration of The Saloon at Buscot Park gave me the opportunity to repair and revitalise a magnificent eighteenth century room. The room contains a series of Edward Burne-Jones, who also designed the paneling in which the paintings are framed. What you now see is a restored and recoloured room : to set off the gilfing on the paneling I used a particularly chartreuse-green tone and had a green silk damask specially woven for the walls. The picture lights were copied from one that had been previously installed but each of the new ones conceals the latest lighting technology to illuminate these magnificent paintings that tell the story of Briar Rose.
As part of The Saloon restoration I created this new fireplace. When I began, there was a white marble fireplace that had been installed at some point in the last century. After researching the rooms history we discovered an old Country Life photograph that showed the original 19th century room with a partial view of the fireplace. We were then able to study the shape and proportion of the fireplace that had been installed and design this new version.
Specially woven, extraordinary perfect silk with its own subtle sheen graces this collection of Empire chairs in The Saloon at Buscot Park. Each chair has its own unique set of silk borders that had to be woven to fit the various differet sizes of the suite of existing furniture.
Having produced perfectly symmetrical architecture and plasterwok for this grandiose drawing room, I then appointed it wiht a perfect kind of Aldiad 'off' symmetry in the layout of the furniture.
In this part of the room, the red sofa is recessed into a highly ornate carved wood alcove that houses a collection of nineteenth century Bohemian glassware and other artifacts. The sofa design is a blend of mirrored neoclassical legs with arms that are more Baroque in style.
The incredible seventeenth-century tapestry with its subtle strength and the feminity of the yellow damask walls, edges with specially made gilded filets, combined with the tones, colours and textures in the carpet, furnishings and furniture together create their own richness. The seating areas are carefully laid out to allow for easy flow of movement in and around the many groupings of furniture.
Every detail is considered to create flow of space and ease of view within a specific area of a room - lamps are wired to concealed floor sockets that have been precisely positioned to minimise if not eliminate the sight of a stray cable. I have used a plain contrasting tonal velvet in conjunction with a patterned silk fabric on the sofa so you can enjoy the beauty of the detail while not being overwhelmed by it.
The jib door in the same room is beautifully concealed into its surroundings.