The Plaza Athénée’s effortlessly chic, light-filled La Galerie
In the first part of our luxury travel views column from the Autumn/Winter 2022 issue, LUX’s Editor-in-Chief Darius Sanai checks in at the Hôtel Plaza Athénée in Paris
Many hoteliers I respect have told me that the highest priority, when creating a landmark new city hotel, is not the architecture or the name of the chef running the kitchen, but engaging and attracting the local community. A great city hotel should feel like a private club. This is partly so that the public spaces are filled when business travellers and tourists are thinner on the ground, but also because any discerning traveller wants to feel they are going where the insiders go.
This philosophy drove the success of Ian Schrager’s first boutique hotels in the 1980s, and continues thanks to the panache of today’s hoteliers. It has also driven the world’s great hotels since their inception: what were the original Ritz and Savoy, if not gathering places for the great and good? Urban tribes may have diversified and expanded now, giving a greater spread of aspiration, but the principles remain. Conversely, it is dispiriting to arrive at a new hotel in a new city to find that everyone else there seems to be as foreign and clueless as you are.
One of the hotel’s peerless Eiffel Tower views
All of this brings me to the Plaza Athénée in Paris. You are welcomed into the marble-lined lobby and can take a peek at the outdoor atrium, one of many areas designed by interiors star Bruno Moinard. And you get a frisson that you have truly arrived in Paris because its Le Relaisrestaurant is the work, play and cutting place of the Parisian elite. If you want to form a new political grouping or gather key players together for a new deal, this is the place where your plan will likely be hatched, matched and dispatched.
Having said all that, arriving in my suite, it wouldn’t have mattered if the hotel had only ever housed tourists. The living room of the suite, on the corner of avenue Montaigne, looks directly down the street, across the river, to the Eiffel Tower. Like the best views, it changes through the day, dusk and night to create a different illusion. By day, the tower is a glowering metallic structure. At night, illuminated and with lasers pointing from it as if it’s a gun turret in an old video arcade game, it feels otherworldly.
The charming La Cour Jardin, designed by Bruno Moinard
The furnishing in the suite is determinedly classical. So much so that it has very much come back into fashion. You have a reception room big enough to hold a cocktail party for 30; there is a baby grand piano in the anteroom and bathrooms for guests of the hotel’s guests.
My favourite moment? After dinner, a glass of Louis Roederer champagne at an outside table on La Terrasse Montaigne. For an evening, at least, I could have been a member of a Parisian “grande famille”, enjoying a nightcap at their local bar. Altogether a priceless experience at the Plaza.
Find out more: dorchestercollection.com/en/paris/hotel-plaza-athenee
Olivier Rousteing with models, including Cara Delevingne, after Balmain’s SS19 show at the Hôtel de Ville in Paris
The French label Balmain, known for its 1950s couture, has been turned into a leader of the 21st-century pack by its creative director Olivier Rousteing. Harriet Quick meets him at his lair in Paris to discuss glamour, music and diversity
“Glamour never went away but right now we don’t like to like glamour – it’s something taboo, a guilty pleasure. It is easier to say a grey oversized coat is chic and beautiful,” says Olivier Rousteing. Over the past eight years as creative director of Balmain, Rousteing has started a brilliant new chapter in Parisian glamour with his continual reinvention of the fashion lexicon, with his signature ballast-shouldered d-b blazers, crazy beautiful embellishments, and architectural silhouettes conceived for megawatt impact. There are many neutral, minimalist suits and swishy plissé skirts designed for 2019. He’s the master of unapologetic va-va-voom, the kind that is rewarded with fire-flame emojis on Instagram, the kind that speaks of female empowerment, dynamism and a knock ’em-out fighting spirit, a message that the brand spreads far and wide.
Balmain’s spring/summer 2019 collection, staged late last year under the frescoed ceilings of the Hôtel de Ville in Paris, was a paean to the extraordinary depth and breadth of culture in the capital, to Rousteing’s own exploration of it and to Parisian savoir-faire. Model and actress Cara Delevingne opened the show in a sculpted metal bustier, a fluid white satin trench with exaggerated shoulders and utility trousers that would suit a modern-day Cleopatra. Extreme fan shapes in triple organza arched over the torso like an unfolded concertina, micro dresses were constructed out of a mosaic of Plexiglas and black graphic knits boasting white hieroglyphics. “We’ve also riffed on the origins of modern-day Paris – and, actually, modern civilization itself. My fascination with the impressive obelisks, pyramids and columns that date from Napoleon’s campaigns and adorn this city’s most iconic public spaces is reflected in the collection’s many references to Egypt,” says Rousteing of his tour de force.
There are no half measures with Rousteing and he admires designers who work with similar conviction. “In my eight years as creative director, we’ve seen so many strong trends. I’m a huge fan of Demna Gvasalia, Hedi Slimane, Phoebe Philo and Raf Simons – they have visions and strong points of view. When I saw the hyper-real street wear of Vetements, I was happy because it is refreshing, but it doesn’t mean I have to do that. In fact, the opposite – you have to become more you. One might like or dislike Balmain but it keeps a fan and customer base, and you have to challenge and be relevant every season,” says the 33-year-old.
Olivier Rousteing, photographed in Paris in 2017 by Pascal Dangin
“I love what is figurative and what people can see. I use a lot of patterns and craftsmanship because I love the first IMPACT! But just because a piece is shiny does not mean there’s no depth. It’s so easy to say ‘bling’ but that means nothing. A piece can be shiny and be created with so many innovative artisan techniques – it is more than surface. The Tour Eiffel is impressive with or without lights; I hope, night or day – these clothes can stand up,” says the designer who joined Balmain and became its studio manager under his predecessor, Christophe Decarnin, in 2011. Previously, he had worked as Peter Dundas’s right hand at Roberto Cavalli, excelling in that brand’s neo-bohemian glamour.
Balmain is majority owned by the Qatari investment fund Mayhoola, which is also behind Valentino, Pal Zileri and Anya Hindmarch. The luxury investment business that is supported by the emir of Qatar paid around $560 million for Balmain in 2016. The operations of the royal family-owned luxury investment business is secretive, with turnover figures for the brand undisclosed. To date, 80% of the turnover of Balmain has been at wholesale with collections for men, women and children being sold into multi-label boutiques and department stores around the globe. Success at wholesale equates to customer loyalty, which is impressive in this era of promiscuous label shopping. This year, under the new CEO Massimo Piombini, there is a major expansion into brick-and-mortar stores, with flagships opening in Miami, Moscow, Paris, Rome and Las Vegas. “Piombini is daring and is not afraid, and I love to push the limits of design. This is the base of making a great business in fashion. With Mayhoola, we want to make the business BIG and push it to the next level,” says Rousteing. Currently, Balmain employs 350 staff with 25 in the design studio.
This year has also seen new developments with the launch of a demi-couture collection entitled ‘44 François Premier’ (it carries the address of founder Pierre Balmain’s original atelier); a twice-yearly women’s wear capsule called Episode, which is showcased during the menswear shows; and a big boost to shoes and handbags. The line ‘Beauty’, following a capsule line with L’Oréal, is in the works. In total, Rousteing designs 14 collections a year.
Balmain SS19 ready-to-wear collection
The shift into demi-couture is significant in its appeal to a growing number of younger couture clientèle. Where a typical heavily embellished cocktail dress might cost £2,500–4,000 in ready-to-wear, a gown in ‘44 François Premier’ is £20,000 and up. “The line is not about trend or future forecasting; it’s about beauty for beauty’s sake, with iconic pieces; we have a huge market for that with so many celebrities embracing the brand,” says Rousteing, whose designs were inspired by his delving into the archives and by the golden years of Pierre Balmain, who dressed Hollywood, socialites and royalty in his exuberant designs in the mid-century. For Rousteing, the jewel-coloured ‘Dynasty’-style gowns, with their gigantic ruffles and furls and sinuous Grecian drapes as well as hand-crafted embellishments by Maison Legeron (a long-established maker of fabric flowers) proved a timely recalibration of the couture dream. The line quickly picked up red-carpet strikes with Lupita Nyong’o and Penélope Cruz parading looks at summer premieres.
Rousteing’s latest show was streamed live to the few lucky owners of Oculus VR headsets. While virtual reality has been used by brands including Chanel (in exhibitions) and Dior (in VIP presentations), the VR stream flagged up the digital savvy of Rousteing who embraced the peer-to-peer power of social media and Instagram (where he has five million followers) early on, much to the snobbish dismay of the old luxury elite. “We always have to remain two steps ahead,” says Rousteing, thumbing the shiny gold Balmain buttons on the shoulder line of his cashmere Breton sweater as he sits behind a vast desk of brown marble and bronze.
Balmain’s new store in Miami
The contemporary take on the Parisian dream is epitomised in the micro-detail of the scintillating embellishments, as much as it is in the flagship interiors. The stores offer a new version of the traditional hôtel particulier with white stucco interiors, gilded mirrors and parquet floors that you could skateboard across, with the associated uptight, cloistering atmosphere banished. Likewise, the virtual universe is vibey with campaigns directed as pop videos. Cue the sonic autumn campaign video entitled ‘The Balmain Beat’ (their ad campaign using a series of films) directed by Jake Nava who has worked with Beyoncé and Britney Spears. It features a group of disparate performers including Milla Jovovich and Daphne Guinness in diverse locations in Paris, from empty office blocks to an 18th-century folly, drawn together by a spontaneously evolving tune played out on found instruments. It shows off the brand’s hero bag – a classy BBox bag with a medallion clasp – and clothes that vibrate with neon colour and metallic sheen.
Watch ‘The Balmain Beat’ Fall/Winter 2018:
What are his views on social media? “It’s a fantastic communication channel yet we have to be careful. Five years ago what I loved was the transparency and authenticity of social media – it was spontaneous and honest. Right now, it’s too commercial and you lose the magic of honesty and credibility. The millennials are not going to like it, as they don’t want to feel trapped,” he says.
In the Balmain world, real or virtual, music is a constant. Prince’s ‘When Doves Cry’ was the opening track to the spring/summer 2019 show. “We are witnesses of our time. I’m very passionate about inclusivity; I’m mixed race myself, and I look for diversity in everything I do. And listening is a key to that inclusivity. There’s a rhythm of life happening all around us. You won’t be scared of what happens tomorrow, if you take the time to listen,” says Rousteing.
Rousteing’s ‘lair’ is a spacious glass-walled office on the top of a six-floor HQ in a narrow street in the 8e. The brown marble and bronze desk, stacked with piles of books, devices and leafy plants, is his own design. While he is working, at the gym, or sketching, loud music is his constant companion. His catholic taste includes David Bowie, Rihanna, Ed Sheeran, 80s electro pop, rock and roll, and RnB. His spring/summer 2019 menswear was devoted to Michael Jackson, with its sequin jackets, rolled-cuff denim and white sock/patent shoe combos.
Rousteing is one of the few black designers currently at the helm of a major brand. Recently, Virgil Abloh was appointed head of menswear at Louis Vuitton, but the numbers are tiny. Independent talents, who have the black experience at the heart of their work, include Duro Olowu and Grace Wales Bonner in London; Stella Luna in Milan; and in New York, Telfar, Pyer Moss and Shayne Oliver.
He has brought pop into fashion and fashion into pop and, by virtue of that ambitious confluence, has opened up a once tired old fashion house to the world. Balmain resonates with a vast audience that exists in and beyond the relatively limited fashion devotee circle. His collections are anthems built on a masterful spectacle and pageantry. He works closely with Rihanna, who first visited his studio in 2013, and he has created hundreds of looks, running the gamut from Egyptian goddess to American high-school denim and sweats, for Beyoncé and her crew for Coachella 2018. A limited-edition line was released shortly afterwards.
Balmain SS19 ready-to-wear collection
“Sometimes people love the tortured element of fashion – depressed, dark and wounded – and there is a depth and struggle in my clothes, but I am pudique (modest). I don’t like being in your face with the torment of creating my clothes,” says the designer who wears no sign of angst on his dewy, unlined complexion. Rousteing has a naturally mellifluous voice and a gentle, warm smile that mellow his fierce rhetoric.
While Rousteing might be a champion of diversity, global messaging and universality, he also remains particularly and brilliantly French. He upholds the values of Parisian glamour that he first fell in love with when a young boy of mixed race raised by adoptive parents in Bordeaux, gazing at images of Iman, Betty Catroux and Catherine Deneuve with their just undone coiffures and smouldering sexuality. He faced adversity (although he does not go into details) but one can assume that a bourgeois city in south-western France might not have been as liberal as it appears now.
“I’m obsessed with being French. I am not conservative but I love to push traditions to the next level,” says the designer who joined Balmain at the young age of 24 and brought about radical change making the brand diverse, inclusive, ‘empowered’. Those values, championed by the greats in the 1960s and 70s – Pierre Balmain and Yves Saint Laurent included – had fallen by the wayside in the following century. Now, a more humanistic approach is considered a vital ingredient of contemporary fashion. Frenchness to Rousteing is about creativity, breaking boundaries and yes, freedom, liberté, egalité and fraternité. His own ‘nest’ is in a light-filled Haussmann-heritage building in the 11e that is a contrast of bold minimalism and flamboyant baroque style. His pride and joy is a vast sculpture of a bronze eagle that boasts dazzling amethyst rock. Thinking about the price of Balmain demi-couture, I ask the designer what he would do with 40,000 euros. His answer is a big slab of brown marble to create a piece of furniture from, to go alongside the gym. “I love the way light dances off marble,” he says.
“Being too popular? I’ve never understood that language. Democratising is not something that’s not luxurious. People talk about chic, about style, about proportions, about the front row, but who is defining these words today and what do they mean? If you take a dictionary 20 years or 100 years from now, you will have new words and new meanings and it’s time for fashion to take on a new meaning.”
Ramesh Nair worked under Martin Margiela and Jean Paul Gaultier at Hermès until luxury titan Bernard Arnault came calling in 2011,with his personal brand Moynat. The artistic director of the Paris-based luggage house tells LUX why Paris is his inspiration – and why London is Moynat’s hot destination this year
LUX: What role does Paris play in your creative inspiration? Ramesh Nair:Paris is the city I have lived in the longest at a single stretch and I still find it amazing, creatively speaking. Inspiration comes from many things big and small – simply living here, walking the streets, observing the buildings and the people. The juxtaposition of the old and the new, the quality of the light and the depth of the sky, the architecture (always look upwards while walking through the city). And the unmistakable Parisian style.
Paris is a unique city where the past is always with us even as we live modern lives. For me, this is perfectly captured by I.M. Pei’s pyramid for the Louvre with its Cubist inspiration and its determinedly modern use of materials like steel and glass, the perfect counter-balance to the classical architecture of the Louvre itself.
This is the ideal I hold in my mind when I create modern bags or trunks for Moynat: to strike an equilibrium between heritage and modernity, between traditional craftsmanship and contemporary design.
LUX: What’s your favourite part of the city? Ramesh Nair: Each district in Paris has its own unique personality and flavour. On the left bank, I have a soft spot for the Beaux Arts neighbourhood. Across the river from the Louvre, this is a warren of old streets steeped in history. The profusion of art galleries, specialised boutiques with unusual products, and the presence of the Beaux Arts school helps keep the neighbourhood youthful and avant-garde. The hotel where Oscar Wilde spent his last days is located here, too.
Moynat Breakfast Trunk for the chef Yannick Alléno
On the right bank, I like the area from Trinité to the Montmartre neighbourhoods. I like the mix of art galleries and artists’ studios, theatres and cabarets, small-scale industries like printers, right next to open-air markets. The Théâtre Réjane was set up in this neighbourhood in 1906 and still functions under the name Petit Théâtre de Paris. There is some remarkable modern architecture to discover, including Adolf Loos’s house for Tristan Tzara.
Mini Gabrielle bag by Moynat
LUX: Ever feel the urge to reconnect with nature, away from the big city? Ramesh Nair: When I have the time, I prefer to drive out of town in search of greenery. Every year, I take a few weeks to explore different parts of France, to discover the diversity of natural beauty in this country, not to mention the wines of the different regions or terroirs.
LUX: Your inside track on Parisian cuisine? Ramesh Nair: Since I am vegetarian, I often have to ask restaurants to accommodate my choice and I have had some lovely surprises. One of my favourite places in Paris is La Bauhinia at the Shangri-la where chef Christophe Moret impressed me not just with the quality of his organic, locally sourced vegetarian ingredients, but also with the way he elaborates his choices, and of course the exquisite cocktails.
I am also very pleased that so many great chefs are embracing the idea of vegetarian cuisine, from Alain Ducasse at the Plaza Athénée to Thierry Marx at his restaurant Camelia in the Mandarin Oriental.
For me, the fusion of different types of cuisine is really the wave of the future, but it has to be done with a lot of respect for the culinary traditions of each culture. I think chef Atsushi Tanaka has elevated this to an art form at his restaurant AT.
A Moynat Cabotin bag
LUX: Is eating out all about the cuisine? Ramesh Nair: Not at all, I am very sensitive to the authenticity of any experience. From a very simple, home-style environment to a Michelin-star restaurant, truthfulness to one’s vision and passion will always make itself felt. Apart from the ambiance and music, the quality of the service, the contact between guests and staff, the effort made to share what the experience is all about, these are elements that feed all the senses.
LUX: What’s your cultural life in Paris? Ramesh Nair: My two great loves are art and music. I try and catch as many concerts as possible (blues, jazz, rock…) when work allows me. I like the acoustics of the Olympia and the Grand Rex. Smaller venues like New Morning and La Maroquinerie are great if you want a more intimate setting or to discover rising stars, plus great acoustic quality.
Paris has so many art museums and galleries that it is hard to pick even a few… plus the museums are often breathtaking on their own. At the moment there are two simultaneous exhibitions showcasing the oeuvre of Martin Margiela, whom I had the privilege of working with during my early years in Paris.
LUX: Where does a Parisian designer like you shop for clothes? Ramesh Nair: Mostly at Yohji Yamamoto for clothes. I am obsessed with trainers, of which I have a collection of limited editions and rare models.
LUX: You travel a lot on work, what is the first thing you do when you get home? Ramesh Nair: Relaxing with my cat is the perfect antidote for jet lag.
Moynat picnic trunk for a bicycle
LUX: What would you recommend all visitors to Paris to do? Ramesh Nair: Paris is a city meant to be explored on foot. So, walk along the Seine, explore the Ile Saint-Louis with its historic buildings and bridges. If you walk through the Louvre courtyard at night, you can see the art through the windows and it gives you a whole new perspective.
LUX: London was the first city outside of Paris to have a Moynat store – why was that? Ramesh Nair: Moynat has had historic ties with London since the very founding of the House. In the mid-1800s, radical advances in the way people travelled and experienced the world made it possible for houses like Moynat to reach visitors from the UK and to make their innovations and quality known. This was one of the keys to the reputation and success of Moynat. So it was a natural decision for us to make London our first store outside of Paris.
The Mount Street store is one of my favourites, for its architecture, its luminosity and its distinctive character. We will soon have a second store on the ground floor of Selfridges, which will showcase our House in a different environment and to a different type of customer.
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