“The height of luxury at the top of Courchevel 1850
and the most desirable skiing experience”

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The skiing season is only round the corner and on December 11, 2013, 
the Oetker Collection (Hôtel du Cap-Eden-Roc, Le Bristol Paris) will reveal its latest “Masterpiece Hotel” and open its chalet doors in Courchevel, one of the most fashionable ski resorts situated in the height of the French Alps’s Les Trois Vallées.

Nestled in the heart of the exclusive Jardin Alpin, a very desirable area of Courchevel, L’Apogée Courchevel will enjoy an outstanding location in the ski resort by the foot of the ski slopes and breathtaking vistas over Courchevel village.

The new five-star hotel will comprise 20 spacious double rooms, 33 suites, a spectacular penthouse featuring three bedrooms with its own Jacuzzi and private terrace, a spa (Sisley products) and a state of the art fitness centre featuring treatment rooms and an indoor swimming pool.

Two stellar, contemporary French designers were given the honour to design and style the space: Joseph Dirand (A-Gent of Style ‘dissected’ the parisian restaurant Monsieur Bleuhere) and India Mahdavi (Coburg Bar at the Connaught, Claridge’s).

What makes this collaboration interesting and challenging is that the minimalist Dirand has brought his hyper-sophisticated, Parisian and masculine touch with his grey palette to the drawing board whereas maximalist Mahdavi injected the hotel with her fun, quirky, feminine and colourful appeal.

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The result is a chic, contemporary design with oodles of warmth and comfort that reflects the distinctive touches of its creators whilst remaining sympathetic with the Alpine surroundings. Luxurious materials like marble (Fior di Bosco in the bathrooms) and metals (bronze and brass), bespoke design with Tyrolean craft, handmade soft furnishings like wool, suede and furs, a warm palette of Bordeaux, brown, green, blue and gold (light and bathroom fixtures) give plenty of contrast, character and interest to the stylish cocoon.

The signature restaurant is directed by two-star Michelin Chef Yannick Franques and features a dramatic grill centerpiece that leads onto a large outdoor terrace – with underfloor heating, of course – overlooking the runs and a champagne bar.

Le Comptoir de l'Apogee

Le Comptoir de l’Apogee


Le bar de L'Apogee

Le bar de L’Apogee


Champagne Lounge

Champagne Lounge

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There is also a private chalet offering five bedrooms, a spa and its own home cinema. The chalet is fully staffed with private butler, room attendants and a personal chef who has a superb kitchen at their disposal and also a private lift with direct access to the ski slopes.

Private chalet ‘L’Amarante’


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Private chalet ‘L’Amarante’

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L’Apogée Courchevel looks like the perfect location to shoot a ‘pardee’ weekend for Made in Chelsea this winter.



‘It’s a different reality’

– Ian Schrager –

Last week, A-Gent of Style thought that the best way to start the weekend would be to mix business (design) with pleasure (well, one of them – food) and to have breakfast in stylish surroundings.

The London EDITION opened its doors during London Fashion Week last month and consequently got engulfed in a mediatised whirlwind. This opulent establishment is the third of the EDITION Hotel brand, co-founded by Ian Schrager – he of Studio 54 and the 1990s revolutionary (now derided) concept of the boutique hotel (The Sanderson, St Martin’s Lane, Mondrian, The Delano), – and Marriott International, which marks the return of the hotelier to London after almost fifteen years.

Located in Fitzrovia, opposite The Sanderson, The London EDITION is a 173-room hotel with plenty of charisma and history. The hotel is said to be inspired by ‘the grand traditions of Great Britain: the traditional, aristocratic English country manor and the London private gentleman’s club with a modern, edgy, urban feel’.
After a £33,000,000 makeover, the hotel can boast deluxe rooms, suites, a penthouse, two bars, a restaurant, a dance club and a 24-hour fitness facility. Originally built in 1835 as five luxurious townhouses still showing the Georgian hallmarks that characterize London’s finest residences, the buildings were combined to form the Berners Hotel in 1908, at the height of the grandeur of the Edwardian era. The sumptuous interiors, lavishly decorated with marble and intricate carved ceilings, are superb Grade II-listed examples of Belle Époque extravagance at its very finest.

The London EDITION has managed to make the transition to the 21st century swimmingly and has a plethora of modern design elements to prove it. Third time lucky, Schrager designed the hotel collaboratively with the amazing American design studio Yabu Pushelberg honouring the orignal features by blending them with sophisticated yet welcoming contemporary touches and innovation.

This result of old and new, past and present, authenticity and originality makes
The London EDITION difficult to pigeonhole or classify; what could have been transformed into an overbearing, grotesque pastiche of styles comes together as a seducing confluence of refined Georgian and Edwardian elegance, edgy urbanity and an undeniable pulsating energy.

The restaurant, Berner’s Tavern, run by none other than award-winning chef
Jason Atherton is where A-Gent of Style’s aesthetic and culinary experience began.

As I entered the room from Berners Street, I was first struck by the white, intricately carved plasterwork, mouldings and cornices, all original, featuring the gamut of medallions, urns, fans, muses and cherubs that you would expect from Georgian times. Two large ‘skeletal’ Fabergé Egg-shaped bronze chandeliers with naked bulbs inspired by the ones in New York’s Grand Central Station adorn the room (their shape reminded me also of Cinderella’s carriage even though this inspiration is probably unlikely and just the result of my wild imagination) – a great addition to anchor the room and scale it down. Underneath them, eight back-to-back demi-lune banquettes upholstered in beige leather and ebony chairs with seats in raspberry cotton velvet make up a central island topped with scattered candles (not seen on these pictures) which, I was told by the head waiter, give the room a sensual and intimate feel in the evening.

There is an impressive display of disparate gilt frames with black and white or colour photographs  (expect contemporary still lives, interiors, statues, portraits and landscapes) on all the walls, themselves dipped in a warm lead colour with undertones of purple, similar to Farrow & Ball’s Down Pipe.

The room with its reddish-brown chevron parquet is furnished with chestnut-brown mohair banquettes against the walls and two-seater bleached oak square tables with circular bronze pedestals (ideal when you have long legs like mine that can’t ‘navigate’ around table legs). Facing the street entrance, there is a long communal oak table with newspapers strewn on it in the morning that can accommodate ten diners if necessary, one of the welcoming touches of the ‘a home from home’ ethos of the hotel, like the glass sliding doors of the kitchen that let you have a peek at the work in progress.

If you enter the room from the foyer, the first thing you see is the central long bar with its imposing and bright sunflower-yellow, back-lit vitrine displaying a vast array of bottles; the bar is made of dark brown wengé, and is topped in aluminium;
it stretches almost as far as the wall ends and is lined up with oak stools. Behind them, three sets of tables (travertine top and bronze pedestal, both circular) with leather tub chairs arranged as a quatrefoil (with a chic bronze nailing dotted around the top of the frame) offer a more intimate seating.

The food in itself was perfectly enjoyable: avocado and eggs on toast, poached smoked haddock, toast and jams, fruit and vegetable smoothie and being partial to ‘tablescapes’, I was very delighted to have my white tea served in an antique silver Edwardian tea set. A few personal, subjective grievances though: I did miss the crisp white linen cloth and I was expecting loose leaf tea rather than a tea bag – call me old-fashioned but I do love indulging in the whole ritual of having my tea with a strainer, its stand and all the other paraphernalia; the service was nonetheless superlative (it was only 9.30am and the room looked deceptively empty, perhaps because of its largeness).

When you enter the hotel from the main entrance, you go through a glass box-like vestibule leading you into the foyer and reception areas. Large and imposing are an understatement here as the soaring ceilings and tall columns will take your breath away. It would be futile to try to narrow the style down to one era as old and new happily cohabit and complement each other. The surrounding walls, floor and columns are clad in the original marble which continues on the sweeping staircase in the corner. There are different ‘loungey’ areas dotted around the foyer where the guests can relax, entertain themselves, work or simply marvel at the aristocratic grandeur of the building.

The hanging egg-shaped sculpture in polished silver by Ingo Maurer presides over the room and is compelling, not simply because of its size but also by the mirroring effect that distorts the space (and the viewer).

The intervention of modern furniture and lighting like Christian Liaigre’s allows simplicity and minimalism and is the perfect foil to counterbalance the four majestic back-lit arches in antique mirror.

The color palette juxtaposes old with new: subtle, subdued off-white and taupey fabrics complement the bright green accent colour of the cotton velvet on some of the sofas.

Situated by an original fireplace, vintage-looking highback and wingback ‘Easy’ chairs by Frits Henningsen give this space delineated by a rug an air of Gentlemen’s Club.

There is a game area on the left-hand side of the foyer with an L-shaped deep-buttoned sofa leather upholstered in dark khaki leather and slipper chairs in mustard cotton velvet, siding a vintage billiard table.

On the left-hand side, a Donald Judd inspired black walnut table with pull-out chairs is fitted with Apple desktop computers and outlets for laptops, the perfect 21st century workstations.

The reception desk features a striking reproduction of a 1773 Louis XV Gobelin tapestry (that made an appearance in the The King’s Speech) stylistically confronting a contemporary art piece on the back wall that works like a convex mirror and changes colour (a recurring theme in Schrager’s hotels – see the rooms at St Martin’s Lane).

The corridor leads, on your right, to the lifts and restrooms. The Gents’ are wrapped in white marble with little veining and the joinery is bronzed, resulting in a definite air of sobriety and masculinity heightened by up-market fixtures in polished silver by Duravit, Geberit and Villeroy & Boch.

Nestled at the back of the hotel is The Punch Room; this is the private
Gentlemen’s Club of the hotel that looks like an English country manor den with plenty of intimate areas: wood panels envelop the room furnished with tufted banquettes in Gustavian blue velvet, mint green leather tub chairs, dark brown leather club chairs, modernist brass sconces and a small bar in solid bronze tucked away in a corner.

Away from the communal, social spaces, The London EDITION is devoted to the personal, the private and the intimate, and to offering an individual experience of luxury and a retreat from the street.

Sadly, A-Gent of Style did not have the time to see the rooms and the 2,000 sq. ft. custom-furnished penthouse, all clad with wood panels in a Scandinavian style, which would require an entirely separate feature. As for the dance club, there is only one way to relive Studio 54 and review it…

So almost a year after the opening of The Wellesley, here is another glittering Grande Dame of hotels with a written and visual narrative that sees a new light of day in the English capital. The London EDITION offers the individual a new lifestyle and blurs the lines between home, office and playroom for relaxation and indulgence. Creating a unique atmosphere and aesthetic experience that give its guests a sense of belonging and satisfaction was paramount to the ethos of a hotel of this calibre. Mission accomplished.

NB: Ian Schrager will be the headline speaker at this year’s Sleep event.
A-Gent of Style might see you there.


A-Gent of Style gladly came across Burro e Salvia last weekend in Shoreditch.

 The new, low-key Italian shop/deli/workshop/dining area is situated in the trendy Redchurch Street (Shoreditch House, The Boundary, Maison Trois Garçons, Aesop, Murdoch etc) and is a little gem of authenticity and simplicity that will bring lifestyle and culture in your life.

It was quite refreshing, both figuratively and literally, to walk into this small pastificio (a traditionally small front shop making fresh pasta) on a hot, sunny day. Expect to find here only fresh, authentic, seasonal Italian staples which are all made by friendly staff with great dexterity in front of you every day.

Burro e Salvia is small: the shop/deli/preparation area at the front is bare, minimal and uncluttered and is predominantly off-white. I particularly liked the different size, recycled cardboard ‘Carton Pendant’ lights with their bright red flex and flirty contours that give the room some character and focus on the main ingredient: the food.

When A-Gent was there, two ladies were kneading, rolling, stuffing, folding these little parcels before displaying them on the counter, ready for take-away or to be cooked on site and eaten in the room at the back. Nothing can beat being in Italy and seeing old Italian ‘mamas’ making pasta in the streets but seeing this process in central London was a delight.

The dining area at the back has only two tables for two people and a large communal table. Just like the food, the decoration is fresh, homely, simple and sunny: a soothing palette of cream with accents of Sicilian lemon (the same one as the clever branding), unfinished oak parquet, natural light flooding in from the skylight, and rustic, antiquey furniture of unmatching wooden tables and metal chairs (some of which Xavier Pauchard) and a bulky vintage dresser. Notice the painted chandelier on the back wall and the table mats that look like sheets of rolled out pasta ready for cutting.

The menu changes daily; on our visit, there were tagliatelle, ravioli, tajarin and gnocchi. Their accompanying stuffing and sauces are to die-for. Purely for the sake of research, I tried two dishes: Agnolotti Cavour  (small Ravioli-like pasta) in the eponymous butter and sage sauce, and Tagliatelle with pistachio pesto and prosciutto. Both were tasty and flavoursome and had a lot of texture.

If you are after a return to Italian basics and in need of some Dolce Vita in your life, pay a visit to Burro e Salvia.


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