Cover In the centre of this lively room in Madrid hangs a Diptych oil and charcoal on paper by Sydney Albertini titled, Woman Movement Play Stripes and Crosses
In the centre of this lively room in Madrid hangs a Diptych oil and charcoal on paper by Sydney Albertini titled, Woman Movement Play Stripes and Crosses
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Previously based in the Philippines, interior designer Ale Mora shares her thoughts on her new home in Madrid, making a case for why luxury should not just be quiet, but perhaps joyful, too
Multilingual is not a word one might associate with design, but it arguably best defines interior designer Alejandra “Ale” Mora’s cross-cultural manner of decoration. Her maximalist style is employed cohesively, allowing the pieces in the room to converse. Approaching her work with an almost anthropological rigour, history and provenance is of equal importance to any one object’s aesthetic value for Mora.
“Constant curiosity, my love of learning new things is what you can see and feel within my designs,” shares Mora. Movement is part of the foundations of Mora’s design philosophy. Originally from Latin America, she grew up living in Mexico, Italy, New York, London, Shanghai, Bogota, Singapore and the Philippines. Currently, she resides in Madrid, amidst a collection of treasures from the different places she’s called home.
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Above Ale Mora leans on a rattan Ripple Console by Soane Britain. Above it, hangs Flamingo by Jaime Parlade
Ale Mora leans on a rattan Ripple Console by Soane Britain. Above it, hangs Flamingo by Jaime Parlade
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Memories of childhood recalls her mother who was “a treasure hunter and we used to travel everywhere from Africa to Paris, always with a sense of finding something”. She felt there was purpose to her family’s travels, learning about the best things a place could produce then sourcing these pieces. She credits this upbringing for instilling in her a great appreciation for detail and visual aesthetics. “I remember going to Antigua in Guatemala to buy doors and windows. Then we would have to figure out all these logistics to have them sent back home,” she relates.
This lifestyle gave rise to a deep interest and open-mindedness about cultures beyond her own. “There is always something new to learn or spice to smell,” she says. Mora describes her childhood as one that encouraged understanding materials and methodologies. Eclectic is the best word to describe her style—a joyful mix of objects, textures and colours shown in a very refined, vibrantly coloured, tactile environment. Cohesion is important for Mora. “I remember my mother would always tell me, ‘Ale, your eye has to guide you’, emphasising on harmoniously mixing things,” she says.
Recently, on a trip with her husband via boat at the Mekong, she shares, “We went from Vietnam to Cambodia, in a beautiful Italian boat.” She tell us of a small bookstore that had 98 the broadest selection where she managed to find a very large (and heavy) botanical book. “This book now rests on our coffee table in Madrid,” she adds. Likewise, her bed sheets also were sourced on that same trip in Vietnam.
Manila connection
Above Ale Mora with husband Michael Brennan and children Daniel, Michael and Macarena in their Torreon Library at home in Madrid
Ale Mora with husband Michael Brennan and children Daniel, Michael and Macarena in their Torreon Library at home in Madrid
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History matters to Mora, and her personal history in the Philippines connects her deeply to the country. “I have many friends in the Philippines. My daughter Macarena was born there,” Mora says. The evidence of her time in Manila is everywhere in her new home in Madrid. Pieces from Natalia Olondriz, E Murio, and capiz lamps, all record her time in the Philippines.
She mentions plans to create “a Philippine-style lanai, with bamboo blinds on the roof, surrounding the space with trees and palms and creating a comfortable outdoor area for dining and entertaining”. She continues, “The view from the terrace is lovely and to have this outdoor space is quite special in Madrid. It reminds me of our time in Manila.”
Every object in her home was chosen for a reason. Often, they are sourced during trips, and almost all are handmade. Shells are something she delights in. She would usually ask a Thai jeweller to add silver borders, bases and handles to create bespoke ornamental pieces out of them. Another piece she mentions is a fique and copper carpet from Colombia which takes six months to weave.
Likewise, she tells us that she has a passion for lamps, collecting pieces such as Chinese antique vases and Murano. Through her antique dealer, she covered a pair of late C19th Os de Mouton walnut armchairs in Pierre Frey Izmir fabric. The fabric’s motif was inspired by the same period the chairs were made. “The process of selecting these pieces and working close to the artisans is what I enjoy the most and the results always exceed my expectations,” she enthuses.
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Penthouse piso
Above Sofas designed by Mora in the sitting room blend seamlessly with Pedro Friedberg’s Alphabet and Fernando Botero’s Bailarina
Sofas designed by Mora in the sitting room blend seamlessly with Pedro Friedberg’s Alphabet and Fernando Botero’s Bailarina
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Situated in the Almagro area of the central Madrid district Chamberi is Mora’s piso. Piso is the Spanish term for a flat, and Mora’s is in a quiet leafy area dotted with palacetes or small palaces whose facades share French design codes. When Mora found the home, she says, “It was love at first sight. The feeling of being in a chalet in the middle of the city is such a treat. The high ceilings, the space, the tower, terrace and light in every corner are unique.” She felt it was the “best canvas to work on”.
Upon entering the south-facing two-storey penthouse, one is greeted by a four-metre ceiling foyer, and black-and-white marble floor set against a mustard stucco wall. Mora explains that the drawing room is divided into two areas, “one end for more entertaining intimate groups and the other for when we receive more guests”. In her drawing room, her favourite piece is a Sydney Albertini dancing ballerina diptych. “Art has always been a big part of my life,” she notes.
She describes the room’s colour scheme as “a melange of earth tones” combined with cushions and fabrics coming mainly from Britain and France. Every piece in the room was designed and produced, especially for it. “It is a room where you can see our memories and where you feel our travels around the world,” she says.
Artisan restoration
Above Dodo Egg Lamp by Beata Heuma hangs in the dining room clad in Farrow and Ball Calke green
Dodo Egg Lamp by Beata Heuma hangs in the dining room clad in Farrow and Ball Calke green
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According to Mora, the biggest challenge one could face in project restoration is finding the right team. “My profession has taught me the importance of the smallest of details. In restoring antique wooden floors for instance, restorers would inject each plank with a gel which resurrects the wood and polish each in a way that doesn’t alter their size. These are floors that have been walked on for almost 100 years and can now be for another 100. Similarly, I found a cornice restorer who brought the cornices around the ceilings back to their original state.” For her, details are everything.
Ensuite dreams
Above Hand-painted headboards designed by Ale Mora
Above Capiz light from Manila in Macarena’s bedroom is a key feature of this cosy girl’s bedroom
Hand-painted headboards designed by Ale Mora
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The bedrooms in the home exude a warmth and charm. For her daughter Macarena’s room, the Colefax and Fowler wallpaper and antique botanical French fabric curtains reflect her love of nature. By the window you can find a mother-of-pearl inlay console table in light pink and from the ceiling hangs a mother-of-pearl flower shaped lamp, both Philippine-made. Her sons’ bedrooms are designed in classic blues and greens, with one son having a painted headboard depicting birds from their garden in their Singapore home.
The bedroom in Braquenié Pierre Frey fabric for wall upholstery
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“My bedroom is inspired by our travel; it has a romantic feel to it. All the walls are covered by L´Eglanteier Braquenie fabric. I designed a rectangular headboard with piping, burnt brown fabric for the main part contrasting with a granite red trim,” Mora describes. She covered an English antique two-seater sofa in Fermoie wicker brown fabric and layered these with animal print velvet Colefax and Fowler cushions. “Animal print is a must for me!” she happily declares.
Torreon library
Above A view of the library from the staircase
A view of the library from the staircase
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A torreon (tower or turret) sits on the top floor of the apartment. With five-metre-high ceilings, the airy space was converted into a library and family room. “This space was inspired by our life in Asia. The main art piece in this room is a large [3m x 3.5m] oil on canvas landscape I commissioned to depict the luscious tropical trees that used to surround our home in Manila and our black-and-white colonial heritage house in Singapore,” she describes.
It is this part of the home she most enjoyed working on. She shares, “The library was a complete joy. We are a family that has travelled a lot and we treasure our time together. I wanted to create an oasis in our house, a space where we can watch a film as a family, or my husband smoke a cigar, or the children host their friends.” Hundreds of books fill the shelves, many of which are family heirlooms.
Joyful luxury
Above In the centre of this lively room in Madrid hangs a Diptych oil and charcoal on paper by Sydney Albertini titled, Woman Movement Play Stripes and Crosses
In the centre of this lively room in Madrid hangs a Diptych oil and charcoal on paper by Sydney Albertini titled, Woman Movement Play Stripes and Crosses
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Mora’s eclectic style makes a strong case for how joyful luxury could possibly dethrone its quieter cousin. There is playfulness to Mora’s interiors; in particular, she cites Jaime Parladé, Robert Kime, Carolina Irving and Penny Morrison as her design inspirations. She elaborates that the houses they decorate are atypical.
A storyteller, the homes she decorates tell the narrative about those that inhabit them. She recommends design choices that engage with people and start conversations. Much thought is given to her selection process, enjoying sharing the provenance of the pieces with clients. She cites history as the reason she leans towards antique pieces. “I’m always intrigued to see who used to own the piece, and feel a part of their soul is retained there,” she says.
Whether Mora’s eclectic style is because of her well-travelled life or it’s this lifestyle that has borne her eclectic style is an inevitable question that arises after a conversation with her. For Mora, special spaces are filled with special pieces in unexpected ways. “I like rare objects, and placing them in unexpected ways. I like rooms where there’s a factor of something surprising,” she concludes.
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Credits
Photography: Esi Seilern
