sky with mountains, snow, trees, and lights

The drama of Lech by night. Main photograph by Isabella Sheherazade Sanai

High in the Arlberg ski region, the bijoux village of Lech has attracted royalty and aristocracy to its slopes for a century. We visit the contemporary hyphen chic Hotel Aurelio, in the middle of the slopes, and the classic Hotel Gasthof Post in the village centre to experience a unique mix of tradition, gastronomy, style, and high-quality skiing

In the far north of Austria, in an open valley leading ultimately to Germany’s Bavarian Alps, the village resort of Lech is in many ways the antithesis of some of certain Alpine resorts favoured by the rich and famous. The sublime little village, with a river running through it and views to a bowl of mountains all around, is chic in an old-world, old-money way. This is where you come when you don’t need to see or be seen.

outdoor pool with snow around it and wooden houses in background

The heated pool at the Hotel Gasthof Post

Even the luxury hotels are understated. The Hotel Gasthof Post, in the village centre, was a posthouse, convenience store and mountain inn; it was acquired in the middle of the 20th century by a family of skiers and mountaineers and formed a central part of Lech’s ascendance to a place where royals went to (not) be seen. There is something very rebalancing about sitting in your wood-panelled room and looking out over the snowfields.

Follow LUX on Instagram: luxthemagazine

Our other proposal for Lech is the Aurelio, a classical-contemporary ski-in, ski-out boutique property on the lower part of the main slope down into the village. The artistry of the design is evident in every detail, from the experience showers and herbal baths in the spa, to the photography of the ski slopes – think Martin Parr for the mountains – on display in the public areas. The prominence of photography continues in the rooms, along with light, natural woods, locally crafted furniture and neutral tones in the furnishings.

interior shot with chandelier, light brown furniture and wooden bannisters

Classical-contemporary elegance at the Aurelio

We also like the focus on sustainability in the kitchen, with local ingredients and presentation that is an art in itself.

food steaming with fork and spoon on right

Locally produced cuisine at the Aurelio

The bar/lounge is coolly discreet, and the terrace sees skiers land (sometimes literally) for an end-of-day martini. 

Read more: The serene beauty of little-known Alpine resort Drei Zinnen

The skiing in Lech is beautiful, and new connections allow a tour over to the equally upmarket mini-village of Zürs up the road, and over to the much busier slopes of St Anton, across the mountains, though we’re not really sure why you’d want to do that. Just make sure you leave your bling at home: this is not that kind of place, darling. Now tell us, how old were you when you found out that you’re next in line to the throne?

Find out more: postlech.com; aureliolech.com

houses in line covered in snow

Picture-postcard Lech by day

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

Share:
Reading time: 2 min
crystal star installation
crystal fashion

A look from Area’s AW16 collection, incorporating an official collaboration with Swarovski. © Swarovski Corporate Archive

Austrian crystal-maker Swarovski celebrates its 125th anniversary this year with a new creative director in charge. Operating in sectors from infrastructure to telescopes, it is most famous for its crystal figures and collaborations with the entertainment and fashion industries. Ahead of a landmark book being published about the company, Harriet Quick explores a family-owned firm getting ready for the next 125 years

For a brand bringing sparkle to the world’s performance stage and symbolising the dazzle of fashion to be celebrating its 125th anniversary is some achievement in itself, given the changes in the world of entertainment and style since 1895. To be doing so as a family-owned company, run in part by descendants of the original founder, is even more so. But for Swarovski, provider of crystals and sparkle around the world, there is yet another dazzling fact: the company has done so not based on the rue Faubourg Saint-Honoré or Milan’s Golden Triangle, but from a small village in the Austrian Alps.

Follow LUX on Instagram: luxthemagazine

The journey has been epic. Today, the company is managed by the fifth generation of its family members. This year, marking its 125th anniversary, has witnessed big changes. On the visual front, Italian-born fashion director and consultant, Giovanna Battaglia Engelbert has joined the company as worldwide creative director. The stores, a feature of cities and airports around the world, are scheduled for a sweeping revamp.

crystal dome

The Crystal Dome at Swarovski Crystal Worlds in Wattens, Austria. © Swarovski Corporate Archive

The brand’s history is as varied as the topography of the Austrian Tyrol where Daniel Swarovski set up his manufacturing plant in the town of Wattens to benefit from the abundant water source that powered the hydroelectric cutting machines. The mountains and valleys of the region are symbolic of the struggles and triumphs of a business that has been driven by the continuous merging of technology, nature and innovative design. There is a generous sprinkling of magic, too. It is embedded in the multifaceted crystals that never fail to arouse awe and around which there has been ample myth-making.

archival family portrait

Daniel Swarovski with his family, c. 1890. © Swarovski Corporate Archive

Before the global pandemic, Swarovski’s annual turnover was recorded at 2.7 billion euros and that comprises revenues from its high-end fine jewellery creations, the crystal stones deployed by a whole array of creative minds, including costume designers, chandelier makers and architects, and optics. The lion’s share (75 per cent of the revenue) is generated by fashion jewellery, sunglasses, watches, perfume and the much-adored crystal figurines. The quality of the crystals that are prototyped at Manufaktur, the striking in-house laboratory in Wattens designed by architectural firm Snøhetta, is unparalleled.

Read more: How Andermatt Swiss Alps is drawing a new generation of visitors

The company’s extraordinary creative output has also been bolstered by a roster of collaborators from the fields or architecture, design, fashion, film and stage who have continually brought ideas and seemingly impossible challenges to the company, from the mesmerising Aurora Borealis crystal that was developed by Manfred Swarovski for Christian Dior to the spectacular costumes made for performers including Maria Callas’s gowns, Liberace’s capes and Lady Gaga’s bespangled Ralph Lauren gown featuring 50,000 stones and worn at her Las Vegas residency in 2019. People come to Swarovski for the spectacular and the sublime, like scenic designer Derek McLane, who used 45 million Swarovski crystals for the 2018 Oscars ceremony, and who commented, “I always want to go beyond the clichés”.

crystal jewellery

Swarovski crystals in jewellery featuring in 16 Arlington’s AW20 collection. © Dan and Corina Lecca.

From the fields of design, Daniel Libeskind, Tord Boontje, Jaime Hayon and John Pawson are amongst the greats who have transformed crystal into products, architectural features and lighting. Hayon recently designed a full-scale carousel for the Swarovski Crystal Worlds culture park in Wattens. The monochrome attraction rotates in striking juxtaposition with the lush greenery of the garden and shimmers with 15 million Swarovski crystals across 12 ceiling panels and 16 wall panels illuminated by a warm light. “For me, a carousel can be seen as a moving museum,” explains Hayon.

lake art installation

old fashion carousel

Swarovski Crystal Worlds, with (top) Crystal Cloud by Andy Cao and Xavier Perrot, and (here) the carousel designed by Jaime Hayon © Swarovski Kristallwelten/Mark Cocksedge

Setting a precedent that would inspire future generations, Daniel Swarovski first made his inroads into the worlds of high fashion in Paris. Equipped with suitcases of stones, the founder would take his goods on the road, visiting couturiers including Charles Frederick Worth, Jeanne Lanvin and Jeanne Paquin, as well as the specialist artisan ateliers that supplied Chanel and Schiaparelli with exceptional embroideries, buttons and jewelled adornments. Relationships were forged that outlived the founder and expanded exponentially during the hey-day of couture in the 1950s, attracting Dior, Balmain and Givenchy. “The samples are often the springboard to the creation itself,” remarked Hubert de Givenchy.

Read more: British artist Hugo Wilson on creating art from chaos

crystal star installation

The Swarovski Star by Daniel Libeskind in 2018 for the Rockefeller Center Christmas tree, New York. Image by HappyMonday

Swarovski crystal became a desired material in fashion, adding glamour and value to evening gowns, heels, handbags and costume jewels. It has been endlessly interpreted through the changing waves of minimalism, maximalism, sportswear, theatrical and romantic moods and proved itself a classic. At Versace, Donatella has made crystal chain mail a signature, Miuccia Prada has made sparkle an integral part of her chandelier earrings and party dresses, while at Chanel, crystal is woven into the tweeds and classic costume jewellery.

fashion shoot

Mary Katrantzou’s SS20 show at the Temple of Poseidon in Greece.

The brand continues to look to the future by investing in new talent and ideas. Sponsorship through the Swarovski Collective programme and graduate award schemes means that emerging creatives are exposed to the potential of the material. Mary Katrantzou, Grace Wales Bonner, Rodarte and Jason Wu are amongst the many who have grown up through the collective. The most famous collaborator is Alexander McQueen, who conjured up brilliant designs fused with narrative richness and theatrical impact. Fittingly, Swarovski was the key sponsor of the record-breaking exhibition ‘Savage Beauty’ (2011) that celebrated his life’s work.

singer on stage

Lady Gaga during her ‘Jazz & Piano’ residency in Las Vegas, 2019. Kevin Mazur/Getty Images for Park MGM Las Vegas.

crystal stage design

Derek McLane’s design for the Academy Awards stage in 2018, using millions of Swarovski crystals. Mark Ralston/AFP/Getty Images

The relationships are best when they are symbiotic. In 2019, Katrantzou designed her Temple of Poseidon couture collection that was staged as a charitable fundraising event in her native Athens with £40k worth of crystal. “Nadja Swarovski has changed the perception of how crystal is perceived, and I have challenged my own preconceptions of it. With something so visually present, it has to be part of the process from the beginning. We never want it to look like an afterthought,” says Katrantzou.

In turn, creative directors have been invited to Swarovski and been given carte blanche to design jewellery collections and components. The results have given crystal new dimensions. Consider Jean-Paul Gaultier’s Kaputt shiny/matte faceted stones, and the one million giant pearls and stones that embellished Olivier Rousteing’s first couture collection for Balmain in 2019. Challenging perceptions, groundbreaking Dutch couturier Iris van Herpen designed a ‘growing crystal’ that features raw and faceted surfaces.

‘Growing’ Swarovski into a new era is the mission for the family now. An era that is challenging for any consumer-facing business: but any company that has lived through two World Wars and a Great Depression has long-term survival in its genes. Sparkle is guaranteed, but who can say what poignant shapes it might find in the future?

For more information visit: swarovski.com

This article features in the Autumn 2020 Issue, hitting newsstands in October.

Share:
Reading time: 6 min
Painting of naked woman hugging a woman in a red dress by Egon Schiele

Egon Schiele, Mother and Daughter, 1913 © Leopold Museum, Vienna

It’s the 100th anniversary of Austrian painter, Egon Schiele’s death and despite his short life (he died at the age of 28), he was one of the singularly most influential artists of 20th century – alongside his friend and mentor Gustav Klimt – and today, his paintings are still the subject of intrigue and controversy.

Follow LUX on Instagram: the.official.lux.magazine

Unbelievably, a series of advertisements showing Schiele’s contorted nudes were rejected by Transport for London in 2017 for being too sexually explicit and were also blocked by the anti-nudity restrictions on Facebook – imagine the stir they must have caused a century ago!

The posters of the artworks in the underground were covered up by slogans reading, 100 years old but still too daring today #ToArtItsFreedom provoking questions of censorship and conservatism by pointing out just how little attitudes have changed. In many ways, it’s a repeat of discussions around the artist’s work in war-time Vienna; many considered the Schiele’s paintings to be pornographic or ‘degenerate art’.

Black and white photograph of Egon Schiele with one of his paintings

Anton Josef Trcka, Egon Schiele next to his 1913 painting “Encounter”, which is now lost, © Leopold, Private Collection

The Jubilee Exhibition at the Leopold Museum has no such scruples, displaying a vast range of the artist’s paintings including images of young girls and his famous nudes, which are charged with sexuality, vitality and torture.

Read next: Spring weekends in Paris: Le Corbusier, Monet & true decadence

Self portrait painting of Egon Schiele in striped shirt by Austrian artist Egon Schiele

Egon Schiele, Self-Portrait with Striped Shirt, 1910 © Leopold Museum, Vienna

But it’s not all bare skin and open legs: Schiele also produced a body of poetic work, which were designed almost as graphic works of art, focusing on similar topics to his paintings with a similar kind of distorted quality, using strange word combinations and syntax to create a particular kind of atmosphere.  The originals of Schiele’s poems form part of the Leopold collection and whilst they might not display the same kind of mastery as his paintings, it’s a fascinating insight into a complex and energetic mind (providing you speak German…).

Millie Walton

‘Egon Schiele: The Jubilee Show’ runs until 4 November 2018 at the Leopold Museum, MuseumsQuartier, Vienna

 

Share:
Reading time: 1 min
william kentridge exhibition
William Kentridge south african artist

William Kentridge, “The Refusal of Time”

William Kentridge exhibition

William Kentridge, “The Nose”

Travelling from the Whitechapel Gallery in London to Museum der Moderne , Salzburg, “Thick Time” by William Kentridge is an intriguing and comprehensive exhibition investigating the South African artist’s multimedia dialogues with themes such as colonialism, racial capitalism and revolution. Sketchy, charcoal animations, video installations and drawings fill both of the museum’s spaces in a giddy insight into Kentridge’s complex and macabre aesthetic.

Follow LUX on Instagram: the.official.lux.magazine

Yet it’s the theatrical elements that are perhaps the most captivating and revealing. As an actor, producer, set and costume designer, Kentridge’s visual art is heavily influenced by performance and narrative; the exhibition’s opening was timed to coincide with the premiere of Kentridge’s production of “Wozzeck” at the Salzburg Festival and tracks the artist’s theatrical career from the late 1970s to present through a display of posters, designs, models and costumes. Kentridge is a maker of worlds. His work across all mediums is textured, dark and completely consuming.

william kentridge south african artist

William Kentridge, “Second-hand Reading”

Millie Walton

“Thick Time: Installations and Stagings” runs until 5th November 2017 at Museum der Moderne, Salzburg

Share:
Reading time: 1 min
Stubai Valley - Four family-friendly skiing areas cater to all aptitudes

Stubai Valley – Four family-friendly skiing areas cater to all aptitudes

Jackson Hole or Hokkaido? Courchevel or St Moritz? None of the above, says Darius Sanai, rediscovering a childhood passion for why Austria offers one of the most involving ski experiences of all

For a sport that essentially involves the same thing, namely gliding down a mountainside with your feet attached to fiberglass boards, skiing divides opinions quite dramatically among its connoisseurs. If you play golf, you will more likely than not admire the same courses as other golf savants; mountaineers agree that Nanga Parabat and K2 are likely to exercise you more than any other peak; drivers aspire to the Nürburgring.

But ask 10 experienced and affluent skiers their opinions on where the best place is to ski and you will likely receive 10 opinions. A powderhound might insist on Jackson Hole. A lover of open pistes (and diamonds) will cast her vote for Courchevel. Fans of vertical drops (and gourmet lunches) will urge you to visit Zermatt. Heli-skiing fanatics will go for the Alberta back country; expert ski/socialisers will favour Aspen. And so on.

And they may all be correct, for skiing has so many sides to it, both on the slopes and in terms of what happens before, afterwards and in between. One of the prominent categories of aficionados is the Austria-lover. While this may seem a rather broad church — affiliated to a country, rather than a single resort — it shares a common range of loves, and I have to admit that I am becoming part of it.

To be an echt Austriaphile, you need to satisfy various conditions. You need to be an admirer, and consumer, of that country’s unique tradition of gastronomically high-achieving, comfortable, familyrun, small luxury hotels. These are never part of a chain, and often idiosyncratic, but are run to exacting standards of hotel keeping that would make many a luxury chain blush. They are as precise in their standards as Swiss watches; indeed Switzerland has a similar tradition, although its luxury mountain hotels tend to be bigger, grander, and more generic (and less gastronomic) than the Austrians.

Spa Facilities - Relax in the indoor or outdoor pool with views of the Tyrol mountains

Spa Facilities – Relax in the indoor or outdoor pool with views of the Tyrol mountains

You need also to admire wood-panelled cosiness, in quantities that can sometimes be kitsch, and are now sometimes melded with contemporary chic. You should favour friendly Alpine village-style service over highly trained service staff who could be replicated from an island resort. And you have to tolerate idiosyncracies: slopes that do not link up as well as some of the slickest purpose-built resorts and mountain areas that sometimes require a walk from your hotel (although the advent of ski depots on the mountain has taken the pain away from this element).

I am not new to Austria. I learned to ski there, in the era of long skis and Franz Klammer, and having since skied pretty much the best of Europe, North America and Africa (although not Japan’s Hokkaido, which remains on the must-ski list), find myself irresistibly attracted to it again now I have a family of my own learning to ski. Partly it is because of the superb standard of the Austrian ski instructors; partly it is because the country is so well served by Crystal, the excellent UK ski tour operator; and partly it is for all the reasons outlined above.

And as it is time to be planning your winter’s hit of snow and mulled wine, I can heartily recommend you replicate our own experience last winter; if you are not an Austriaphile already, it is likely to convert you.

Our chosen destination was not one of Austria’s world-famous names (St Anton, Lech, Kitzbühel), but a village (Neustift) in a valley (the Stubaital) that was previously unknown, even to me. The decision was informed by the fact that Neustift has a highly-rated family-run luxury hotel, the Jagdhof, with indoor and outdoor pools; it also has snow-sure glacier skiing at the Stubai glacier, a few kilometres down the valley; and it is amazingly near Innsbruck airport — a mere 25 minute transfer, which, when you have car-sick children to worry about, is a holiday game changer to the three to five hours each way required by many of the big resorts in France.

The Stuben - Enjoy an extensive breakfast spread and award-winning cuisine in the expansive restaurant

The Stuben – Enjoy an extensive breakfast spread and award-winning cuisine in the expansive restaurant

The Jagdhof appeared slightly unprepossessing at first, as it is tucked on a road exiting the village of Neustift; it is only on entering that you realise that its gardens, views and open spaces are on the other side, onto which our room, a family suite in the annexe, fortunately looked. Our balcony was vast, big enough to cross country ski on, and it sat above meadows and parkland covered with thick snow, and a view down the valley towards the glacier on which we would be skiing. The bar at the Jagdhof, where we went every evening for the pre-dinner aperitif, is all alcoves, wooden panels and super-professional bartenders, exactly as an Austrian hotel’s bar ought to be. There was no attempt to mimic urban bar chic in terms of décor, and although there was an extensive cocktail list, we delved instead into the quite superb list of Austrian and other European wines. Occasional wine drinkers may be familiar with refreshing Austrian Grüner Veltliners and fruity Rieslings, but Austria also has an array of distinctive, characterful, soft and layered red wines that don’t see broad distribution outside the country. They go very well with post-skiing evenings, sitting in the intimate restaurant across the corridor from the bar, sipping as temperatures drop outside. Blaufrankish and Blauburgunder from Burgenland, Pinot Noir from the Wachau: these warm but approachable reds also matched the intricate cuisine served in the restaurant. Char, trout, salmon and turbot were fragranced, always perfectly cooked, and nuanced rather than overwhelmed by their accompaniments; lamb was a mountain staple. Desserts were Austrian-sweet and creamy. (One observation: if you are not too fond of dairy, it is worth letting them know, as this is a chef who is fond of his cream and cream-based foams, from the amuses onwards.)

Hotel Jagdhof - Expect traditional Tyrolean hospitality in the five-star hotel

Hotel Jagdhof – Expect traditional Tyrolean hospitality in the five-star hotel

And then, there was the skiing. The Stubaital, or Stubai valley, of which Neustift is the main village, has a number of skiing areas, the most extensive and snow-sure of which is the glacier, at its southern end. The journey to the lifts takes 20 minutes by road and you take the gondola up to the glacier’s hub, you can fan out in a number of directions: everything from nursery slopes to black runs are available.

The children advanced from the nursery area to the longer blue runs fanning around the hub within a day or two; I enjoyed the couple of black runs, although I should note that this is not an area for a group of skiers who only wish to bash the blacks. Some longer reds were exciting also, and the star piste was the 10km (challenging) red run, with almost 2,000m vertical drop, from the top station, through a hidden valley, to the valley station of the gondola. The altitude difference was quite breathtaking, and if you did stop to catch your breath halfway down, you found yourself in a valley with no sign of human hand or habitation (apart from the piste), far away from the lifts and restaurants.

If you are a mixed-ability family or group, and enjoy the convenience of getting together on the mountain for lunch every day and not splitting off from each other for the entire day, the Stubai glacier is one of the best options I have come across in the Alps. There is one caveat: the main gondola serving the glacier is quite old and low-tech, and on a windy day it can close, as happened to us. This is being addressed by a new hi-tech gondola that will open at the start of the 2014 season.

The other areas of the Stubaital are notable more for their cute, tree-lined pistes cutting through the forests (they are at much lower altitude) and excellent mountain huts serving fondues, hearty salads and mountain meat dishes, than their world-beating skiing. For a gentle family meander interspersed with a meal incorporating high-quality ingredients at reasonable prices (I hope the French are paying attention here) they are memorable.

In the end, the blend of traditional warmth, exacting standards, excellent organisation, convenience of transfer, and catering to all standards of skier, is something the Stubaital has down to perfection. If and when our children become experts themselves, we will look elsewhere; but it is heartening to know that varying standards of ski ability do not need to mean an inconsistent standard of holiday.

A number of operators offer five-star packages in Austria; of them Crystal Ski (crystalski.co.uk) is probably the slickest and most experienced. Crystal offers half board at the Hotel Jagdhof including airport lounge passes, flights, transfers, and all the extras you might expect, including the excellent childcare from the kids’ club, which in our experience goes above and beyond the call of duty.

Share:
Reading time: 7 min