Interior designer Alidad's exquisite London flat
There are many ways of acquiring knowledge of design and decoration, but none are more informative and intimate than spending a day with the decorator Alidad in his own home. Known for his opulent, elegant style and for combining comfort with behind-the-scenes practicality, he has designed some of the finest interiors in the world and has much wisdom to impart on the subject.
Admirers of his distinctive look can now join Alidad on a one-day course, held in his exquisite flat in central London, steeped in the Persian culture of his origins. The space encapsulates his philosophy of design acquired through many years of travel: 17th-century and 18th-century Europe meet hundreds of years of Byzantine sophistication, with a twist of what he calls ‘classical contemporary’. As the day unfolds, Alidad describes his formative years, his career and his work, illustrating design ideas with examples all around him.
We were welcomed with a glass of champagne, delicate canapés and a personalised booklet, a hint of saffron rising from the sachet enclosed in its pages, which outlined the format of the day. Interspersed with poems by the 13th-century Persian poet Rumi and photographs of completed Alidad projects, it describes the six senses with which he engages to create the ultimate room. ‘Sight and touch are the principal ones,’ he explains. ‘But scent and sound are important, too – a waft of tuberose can bring back many memories. Music or the distant sound of running water can soothe. Taste plays a vital role – the minute a guest stretches for a nibble, they have relaxed. The sixth sense is my own instinct, which guides me to put together different textures, patterns, colours, arts and cultures, and informs me when to stop.’
After an idyllic childhood in Tehran, Alidad and his family moved to London in 1970 when he was 16. It was a traumatic experience for him, as he spoke no English. He had little choice but to focus on mathematics and computer science, in which he later earned a degree. But it was not until he went on to complete Sotheby’s Works of Art course in 1977, and was offered a position in the auction house’s Islamic Department, that his heart became engaged. ‘My life changed,’ he explains. ‘At last, I felt at home. I was exposed to all forms of art, visited many of the great country houses with in-house experts and my eye began to develop.’
Eight years later, he started his own business, dealing in antiques and designing and decorating from his flat. Inheriting his mother’s eye for beautiful objects, he bought widely and displayed his purchases in his red library, stencilled and hand painted in 17 different shades of red by Alex Davidson. It was this room, in which we sat after a delicious lunch, that kickstarted Alidad’s career. He was asked to recreate it for the British Design Exhibition in Chelsea Town Hall in 1987. Chintzes, bows and lacquered tables were in fashion at the time and his more masculine style caused a sensation.
‘I never match fabrics and paint finishes,’ he explains. ‘I mix everything together – suzani needlework, Turkestan cushions, Georgian furniture, modern sculptures. It is an instinctive process. I start with a block colour on a wall, then add layer upon layer of pattern and texture. I love using old family furniture or a faded carpet, so the room feels timeless, as though it has evolved over generations.’ His hallmarks include modern damasks, edged with old velvet (embroidered in India), and verre églomisé – glass painted and gilded on the reverse side – made in his west London workshops.
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His starting point is to bring balance and harmony into the existing architecture of the rooms, often achieved by lifting a ceiling or strengthening an architrave. The next step is to understand your requirements – family needs and storage – and to absorb the essence of the space. For instance, a north-facing room will never be sunny, but would work well as a comfortable study. A dining room, if used mostly at night, can be more theatrical. To create a greater illusion of space in a small room, include an oversized piece of furniture or a large-scale wallpaper. And for extra height, add a cornice that features mainly on the ceiling. Next is a careful furniture layout: if you are not using a decorator, you can achieve this with brown paper cut-outs.
In recent years, Alidad has launched Studio A, a prêt-à-porter version of his haute-couture interior-design service. ‘It is a younger, fresher approach,’ he says. ‘I also offer a one-day consultation for those struggling with room proportions, colour or decorative schemes. But whatever we do, at whatever level, we aim to deliver something wonderful, on time and always within budget’.
For further details on Alidad’s decorating days, visit athomewithalidad.com
Simon Brown1/9In the hallway, walls in pink suede with gold braidwork create a bold backdrop for Alidad’s collections of prints, artwork and antiques acquired over the years, including an English neo-gothic chair upholstered in green chenille. The striped wool carpet is by Roger Oates Design.
Simon Brown2/9Sunburst mirrors from a decorative fair top the bookcases on either side of the window. A plaster copy of a bust of Laocoön is displayed behind a William IV rosewood bergère armchair upholstered in ‘Memlinc Chenille’ damask by Watts of Westminster. The Seventies brass coffee table stands on a 19th-century Ziegler & Co carpet.
Simon Brown3/9The rich shade of red used for the bookshelves in the library is continued on the walls as the framework for an Islamic pattern featuring traditional palmettes and arabesque motifs, stencilled and hand painted by Alex Davidson. The painting above the chimneypiece is by the couturier Victor Edelstein.
Simon Brown4/9The painting above the velvet-covered sofa is a copy of an 18th-century watercolour by Francis Smith, depicting a scene in Istanbul’s Topkapi Palace.
Simon Brown5/9In the drawing room, a 17th-century Flemish tapestry, thought to depict Brutus killing Caesar, hangs between vertical mouldings inset with mirrors. The sofa is covered in a pale linen by Pierre Frey, and ‘Drago’ velvet by the same company was used to upholster a carved walnut Regénce armchair. The glass-topped gilded bronze coffee table is by the Belgian artist Paula Swinnen. A watercolour by the Russian avant-garde painter and designer Natalia Goncharova hangs on the door.
Simon Brown6/9Inspired by baroque style, the walls in the dining room are covered in leather panels embossed, hand painted and gilded with colourful flowers and fruits by Sterling Studios, which was also responsible for the hand-painted trompe l’oeil ceiling with its faux-coffered effect. A gilded wood and wrought-iron chandelier by Richard Taylor Designs picks up on the gilded vertical wooden fillets. Above the chimneypiece hangs a portrait of an Ottoman sultan, flanked by Italian baroque carved wood wall lights from Guinevere. The dining chairs are upholstered in a plain and a patterned chenille and edged with braid.
Simon Brown7/9A headboard in Romo’s ‘Dakota’ faux suede is set against a wall on which linen and suede panels are separated by studded braidwork. The bold motif on the pelmet and curtains is echoed by the valance and cushions.
Simon Brown8/9One of his hallmark jib doors leads from the hall into a bathroom with a bespoke basin and toning sandstone tiles.
Simon Brown9/9Alidad’s philosophy of design combines elegance with comfort.
