Heinz E. Hunkeler, the manager of Kulm Hotel, photographed by Konstantin Arnold

German writer Konstantin Arnold offers a glimpse behind the scenes at the iconic Kulm Hotel in St. Moritz. Through his (groggy) encounter with longtime Kulm Hotel manager Heinz E. Hunkeler, Arnold reflects on the delicate balance of tradition, change, and the quiet rituals that keep great hotels – and their guests – running smoothly

The morning after a long night, I met Kulm Hotel manager Heinz E. Hunkeler. Naturally, I was late – it wasn’t exactly the next morning, but rather three hours later. He didn’t take offence at this, behaving with the diplomacy and courtesy of a hotel manager who’s now part of my story. ‘No problem,’ he said, ‘I had some things to attend to anyway.’ He asked how my evening had been, and I told him it had been fantastic. He remarked that it couldn’t have been too crazy a night. He had all the numbers in his head, after all. The big spenders hadn’t been there – how could they have? I joked that I’d drunk like one but hadn’t paid anything. I laughed, and then he laughed, too.

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The first thing Heinz does in the morning is look at the figures – how many bottles of Dom Pérignon went to which room and at what time. You might have to apologise to your room neighbours. Heinz knows the truth before he even wants to. I mean, the guy had already been out swimming at six o’clock today. He wore a wonderful blue pinstriped suit in the morning light and sat with the same grand posture as he did in the armchair in his lobby. At one point, we had to move because the sun was shining too much in Heinz’s face. He was a good storyteller and spoke in simple and beautiful phrases with a charming Swiss accent. This was lucky since I wasn’t quite up to talking yet, and it was a pleasure to see how naturally he moved around the room.

Heinz E. Hunkeler photographed in his Kulm Hotel by Konstantin Arnold

Heinz E. Hunkeler – a hotelier shaping the future with tradition

Heinz grew up in Kulm. As a child, he played football in the indoor pool between seasons. Today, he and his wife are a true hotelier couple, who still live here. It’s a rarity these days. We talked a bit about the power of routines and the fact that there is a lot of work behind all the apparent ease. If you ask yourself in the morning what you’ll eat, wear, and do, you’ve already wasted precious time thinking. The most important skill of a hotel manager, however, is to make you the most important person in the world for the moment you spend with them. As soon as they walk out the door, you might be forgotten, but that doesn’t matter. Heinz’s job is to lead this hotel into the next century, so that the world of yesterday will still exist tomorrow, and his guests won’t stray. He even tolerates pizza boxes in the corridors. He has hired staff to cater for the trends of our time.

Read more: Six of the best hotels in Scotland reviewed

Tradition, change, and the value of good staff

Some people say he’s conservative; after all, Heinz likes to go hunting, so he doesn’t forget how to do his own shopping. Why do people always say that as if it were a bad thing? Time passes in cycles because people tolerate its passing better that way. The cultural manifestation of these cycles is called fashion, and its melancholy revival is called nostalgia. The point is to illuminate things and distill their constant repetition down to an essence that becomes eternal for a moment. Nothing lasts forever. Not even Angelo and Fabio. The turnover can be hard to bear. Many guests come not least because of the staff. Good employees are hard to find and hold onto. That’s why they have just renovated the staff accommodation for 25 million. In the past, Heinz says, there were shared rooms; today, there’s a gym, down duvets, compensation days, and chia seeds.

The lobby lounge at Kulm Hotel, photographed by Konstantin Arnold

Reflections in the Kulm lobby

After the meeting with Heinz, I walked around the hotel for a while, still exhausted. You always think, ‘it’s over now,’ but it wasn’t. I settled into the lobby, its comfort almost unbearable without sleep. I nodded off, with the wall behind me and the world in view. Once again, I was struck by the beauty of these chairs. You notice them the first time, but you don’t realise how much they struck you. They’re colourful and have women’s faces in gold at the end of the armrests, which you can stroke as you sit down. Some of the women who came by looked remarkably similar. If you spend half the day there and you don’t have any inhibitions, you’ll meet all sorts of fascinating characters throughout the day: opera singers undergoing proton cancer treatment, people who sell bread and jewels in the same store, and friendly Slovenian waiters. It is the true living room of St. Moritz. The lobby at Badrutt’s is too hectic, too many people who are obliged to be there – the usual few days a year: say hi, play the game, leave. The one at Suvretta is too big to be truly cozy, though at least you can smoke at the bar.

Read more: Inside Aston Martin’s Valhalla and Vantage

So, what does the Kulm mean to me now? Tweeds and the lobby. Cornelius, the concierge. Angelo, the sommelier at the Dracula and breakfast room. A Portuguese woman walking down the lobby in a white ski dress, her brown hair tied up, gold earrings glinting. And what else? Andrea at the country club and the Slovenian waiter who always liked to talk to me when I was sitting here, the Russian aristocrat who skated every day and sipped tea in the lobby. But definitely Heinz E. Hunkeler, who likes to go hunting and whom I saw many times that day, talking and sitting with various guests until dusk fell. I have no idea how he manages it all.

Konstantin Arnold

kulm.com

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Reading time: 5 min
rooftop dining
rooftop dining
Chef Alain Ducasse, who currently holds twenty-one Michelin stars, has teamed up with Dom Pérignon and renowned chefs Albert Adrià (one Michelin star), Romain Meder (3 Michelin stars) and Jessica Préalpato to create ADMO, an exclusive dining experience on a roof terrace overlooking the Eiffel Tower. Candice Tucker travelled to Paris to find out more

ADMO bills itself as an ephemeral restaurant experience due to the fact that it’s open for 100 days only, but it doesn’t really seem the right way to describe a fourteen course, multi-sensory menu, created by five of the world’s best chefs and paired with Dom Pérignon Rosé 2008. Decadent is the word that comes to mind and perhaps, a touch hedonistic.

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Situated on the top floor of Musée du Quai Branly, the restaurant has a prime position overlooking the Eiffel Tower, which as the clock strikes the hour, is illuminated by brilliant lights. Cynics might pass it off as naff, but it feels suitably sparkly for a champagne feast.

fine dining

The fusion of philosophy and food makes ADMO stand out from other gastronomic experiences. The menu specifically excluded meat products, to emphasise its green credentials. Being presented in a minimalist fashion, it further highlighted the importance for people to appreciate food for its refined quality whilst fully satisfying one’s appetite.

Read more: Standard Chartered’s Eugenia Koh on Next Gen Investors

The small tables and dim lighting, made the grand culinary experience, warm and intimate. Between each course, there was lively conversation amongst the journalists, food and champagne connoisseurs, but as each course was placed in front of the guests, the room fell silent. Every plate – notably, the crispy pastry sheet with red mullet and fried scales – provided an explosion of perfectly balanced, fresh flavours that were enhanced by the champagne pairing.

rooftop dining

© François Goizé

Speaking at the launch event, Alain Ducasse explained how each dish at ADMO aims to encapsulate a philosophy of sustainability (all ingredients are locally sourced except the caviar which comes from the north of Shanghai), suggesting that this will, increasingly, define the future of fine dining. “There will be more of these types of projects. There will be more attention on better food, thinking more about the food we can eat and food that is better for the planet,” he said. “I believe this is the roadmap [for the future] and it will not end.”

Vincent Chaperon, Dom Pérignon’s Chef de Cave, also commented on the importance of taking a sustainable approach: “I believe that if we focus on [sustainability], more people will embrace this approach. More doesn’t mean quantitative, it’s qualitative. This kind of project encourages people to recognise a new art of living [that centres around] our relationship with nature. We have to preserve and not only interact.”

If ADMO is a taste of what the future will bring, we’re very much on board.

ADMO is open from Tuesday to Sunday for lunch and dinner at Les Ombres au Musée du quai Branly. For more information, visit: admo.lesombres-restaurant.com

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Reading time: 2 min
musician on stage
musician on stage

Pink Floyd’s David Gilmour at Château de Chantilly outside Paris. Photograph by Gavin Elder

Filmmaker Gavin Elder has created films for the likes David Lynch, Mark Ronson, Duran Duran, ACDC and Pink Floyd’s David Gilmour. Here, he speaks to Paige Nelson about his career highlights, the challenges of shooting in a Roman amphitheatre and capturing the atmosphere of live music on video

1. Did always want to work in the film industry?

I picked up my Dad’s Super 8 camera when I was ten years old. The unique Super 8 sound, and the tactile feel of film running through the camera lit something inside me.

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2. Who have been the most interesting people to work with so far?

Working with David Gilmour has been an absolute high point. I remember the very first day we started filming at Bray Studios, he was rehearsing with the other members of Pink Floyd [Rick Wright and Nick Mason], and someone shouted, ‘Let’s do C Numb!’ They launched into ‘Comfortably Numb’, and the hairs on the back of my neck jumped up.

music fans

Fans at an ACDC concert in Buenos Aires. Photograph by Gavin Elder

3. How do you create the atmosphere of a concert in a film?

This varies from artist to artist, but I think the most important element is for the performer to be relaxed enough with the process of filming that they focus on the music and their performance. My role is to then select camera positions and capture the show without being obtrusive. The musical highlights, subtle glances and infectious smiles between band members together with the audience create the magic.

Read more: Chopard’s Caroline Scheufele on versatile jewellery design

4. Is there any person you would drop everything to do a documentary on?

Don’t they say you should never meet your heroes? Working with David Lynch on a project for Dom Pérignon was extraordinary; he had such a great sense of humour and incredible focus while working. I remember the laughter, and a great sense of team work.

man and champagne

In 2011, Elder created a short film capturing behind-the-scenes footage of David Lynch (above)  shooting Dom Pérignon’s new campaign. Photograph by Gavin Elder.

5. Are there any artists who have inspired your works?

I think street art as much as fine art has influenced my approach. I’ve made films with Faile, Shepard Fairey and street artist Ludo. Giles Walker made a phenomenal piece titled The Last Supper which I documented. I travel extensively and different cities around the world contribute to the vitality and energy in my work.

6. What are biggest challenges of any project, and how has the pandemic affected the film industry?

When we filmed Live At Pompeii all the equipment had to be hauled by hand down a specially built road to the edge of the Roman amphitheatre – a logistical challenge, which the local Italians rose to. During the show, a rogue drone flew dangerously low over the audience and a laser team tried to disable the drone’s camera with a focused laser beam. The drone footage has never surfaced so perhaps they were successful.

The pandemic has been devastating [for the film industry]! Numerous projects have been cancelled, although some work has started to trickle back now. There have been some interesting online concerts and new approaches to entertaining fans, but it’s difficult to replicate the live feel, the bass in your chest, the shared experience, the intensity.

Follow Gavin Elder on Instagram: @gavin_elder

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Reading time: 3 min
car on cliff side
car on cliff side

Bentley’s latest Bentayga SUV is more environmentally friendly, faster, more comfortable

LUX Editor-in-Chief Darius Sanai discovers Bentley’s new, faster and more environmentally friendly Bentayga model revealed earlier this week

You, dear LUX reader, have a transport conundrum. Your driver is self-isolating, and you have a desperate need to transport yourself, your latest husband, two very long adolescent offspring, and a large number of Louis Vuitton suitcases, from the private aviation terminal at Nice airport to your villa above St Tropez. (The husband does not do helicopters).

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We are pleased to say that a solution is at hand, courtesy of British (well, British-based) automobile manufacturer Bentley and its new Bentayga SUV, announced this week.

You will naturally have been familiar with the existing Bentayga, which was pretty much the most luxurious way to transport a large family at frightening speed while taking up most of the Autoroute Provencale.

dashboard of car

The new model is more environmentally friendly, faster, more comfortable and has more room in the rear for those ever-growing adolescents, or alternatively your long-legged late night companions home from La Voile Rouge and, crucially, it looks better: sleeker, and less huge.

Read more: Two of London’s best restaurants in our home

car in parking space

Apparently, it drives better also, thanks to a wider track between the wheels and various other improvements that we won’t go into here. The key point is that you will feel like les genoux de l’abeille (the bee’s knees) as you hand the keys to the voiturier at Les Caves. Now, where’s the alcohol-free Dom Perignon?

Discover more: bentleymotors.com

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Reading time: 1 min
Lenny Kravitz wearing an animal print blazer holding champagne
Lenny Kravitz wearing an animal print blazer holding champagne

Rock star turned interior designer Lenny Kravitz created a limited-edition collection for Dom Pérignon

The rock star turned interior designer takes the LUX hot seat, and shares a particularly fond memory involving a bottle of 1964 Dom Pérignon. Interview by Irene Bellucci

1. You’re best known as a musician, what drew you to interior design?

Because you can create the environment around you. It’s like theatre. That’s what I do – I feel the vibe, the mood. For the piece I designed for Dom Pérignon, I wanted to create a piece of furniture unique, never done before, building an object representing the idea of drinking champagne.

2. What inspires you?

Life. I just have to open my eyes and look or close my eyes and listen. I’m inspired by what’s around me.

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3. Who do you confide in about your art?

Artists – people who have great eyes and can always tell me their true opinion.

4. You collaborated with Dom Pérignon on a photographic series, Assemblage, and you’re also its new creative director. Is there an interaction between different forms of art for you?

They feel each other and they are connected. I always loved to create, but after a month in the studio making music, you need to take a break. Not because you want to stop creating, but because you need to change and come back fresh. That’s why I go to shoot pictures, or I go and design objects.

5. What’s your fondest memory of drinking champagne?

I still remember one evening drinking 1964 Dom Pérignon at Château Dom Pérignon. I spent that evening in front of the fireplace with a friend. It was extravagant. I’ve always been a champagne lover, and I am very close to the chef de cave at Dom Pérignon, even before starting our amazing collaboration. Everything started out of a friendship.

6. Speaking of Dom Pérignon, what’s your favourite way to drink it?

I like to go high and low, that’s the beauty of it. Before this interview I was sat here, sipping champagne and eating my vegan pizza – it was perfect. You don’t need to do anything too extravagant.

Read more: Artist Sassan Behnam-Bakhtiar’s tales of sadness and beauty

7. Tell us about the casting of Assemblage?

At the beginning I didn’t choose my daughter, Zoë, but they asked me, and she said yes. We had fun; it was a great group of people. Susan [Sarandon] is such a force, still so young, vibrant and beautiful. And Alexander [Wang] came with Zoë – they have known each other since high school.

8. Are you working on residential projects?

Yes, we are doing six residential projects in Miami, Malibu, Aspen and Detroit, but more are coming.

9. What are the challenges you face when designing?

Everything starts with a space in which I see the object I’m going to design, because I always design something that I want to use. I ask myself how I can amplify the space without taking over it; it’s a balance.

10. Where does the creative process start for you?

My mood board always helps me to visualise my ideas. I love to work with people that want to make art, in complete freedom; you can go deep and find unique and exceptional pieces. At the moment, there is a lot of interest in fine vintage furniture, pieces by Gabriella Crespi, Paul Evans, Pierre Jeanneret, to name a few.

11. Tell us about your design style?

I love to work in different environments – the concepts I create for the countryside are different from what I create in the city. However, you can see the thread in my work. The furniture is very sculptural, the art and the lighting are both important for my aesthetic. And I always look for organic materials, such as stone and wood.

12. And finally, how would you describe your life in a song title?

My first album, my first song. Let Love Rule. This drives my creativity and my life since.

Discover Lenny Kravitz’s limited-edition collection for Dom Pérignon: domperignon.com/uk-en

This article was originally published in the Autumn 19 Issue.

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Reading time: 3 min
Dom perignon dinner london

Superstars from fashion, design and media gathered at an uber-exclusive dinner in Vincent Square, central London, last week to celebrate the launch of Dom Pérignon‘s Plénitude Deuxième 2000 champagne.

Sarah Ann Macklin and Rosanna Falconer

Whitney Bromberg Hawkings, Peter Hawkings and Emilia Wickstead

Paco Sanchez and Richard Geoffroy

Louise Galvin and Charlie Bracken

The cuisine and champagne were made even more glorious by the short speeches from Richard Geoffroy, Chef de Cave at Dom Pérignon, which themselves blended the deconstruction of Jacques Derrida with the poetry of Charles Baudelaire. As to the Plénitude Deuxième (P2 for short): released 17 years after the vintage, it’s a sumptuous, complex drink, rich and open as many of the 2000 vintage champagnes were.

Nadja Swarovski and Rupert Adams

Lady Ashley Adjaye and Tamara Rojo

Farhad Heydari and Darius Sanai

Melinda Stevens

The extra time it has spent maturing in the Dom Pérignon caves in France have given it a soulfulness which determines that it will never be sprayed around over over half-naked waitresses in St Tropez nightclubs, as lesser version of prestige champagnes sadly continue to be. Instead, it is a champagne to enjoy with your soul mate, perhaps at a three Michelin-starred restaurant over a proposal. It should be contemplated as I did, wandering outside after the dinner and looking over at Westminster School‘s cricket pitch on Vincent Square, some decades after I last played there, as a desperate last-minute addition to the school Z team, never imagining I would be back 32 years later to sip a drink made 15 years in the future – and why would one, unless one were Baudelaire?

Darius Sanai
Images by Richard Young
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Reading time: 8 min