Net Prophet
The Business of Fashion: The man behind Yoox, Katie Grand’s pyramid, Designer of the moment, China fashion week, ALT’s exhibition
AFR Magazine | November 2011
By Marion Hume
©afr.co
Net Prophet
The Business of Fashion: The man behind Yoox, Katie Grand’s pyramid, Designer of the moment, China fashion week, ALT’s exhibition
AFR Magazine | November 2011
By Marion Hume
©afr.co
Anatomy of a Maison
The Australian Financial Review | November 2011
In the Medieval age, the sight of a towering spire signalled a city of splendour. Today, it is cathedrals of retailing that indicate metropolitan status in the global pecking order. The December 3 opening, not of another Louis Vuitton store – there are already 460 of those worldwide – but of a much grander Louis Vuitton ‘Maison’ (of which there are just 13) proves Sydney must be a very smart town indeed. Kar-Hwa Ho is the man responsible for the latest Australian opening, as well as such landmark stores as Louis Vuitton Singapore, housed on its very own island. Vuitton’s design director for the Asia-Pacific region tells Marion Hume about the new maison in the company of the brand’s Paris-based director of architecture, David McNulty.
A CATHEDRAL FOR A SECULAR AGE
“Is that a compliment?” asks David McNulty. “I suppose fashion houses are becoming architectural theatre in the way opera houses were and cathedrals used to be. For us, there is always a question of visibility. We cannot be tucked away. We must be seen.” So how big a footprint is needed for a maison? “About 2000 square metres” says McNulty. Walk-ins are welcome at the Sydney Maison, because busy George Street means there’s nowhere to park, let alone a space for your limo to wait. But what of those Vuitton stores where you can’t walk in? The line at the Paris Champs Élysées flagship store often numbers in the hundreds. “It’s really not good to have people waiting,” protests McNulty, revealing that staff serve hot beverages to waiting crowds and the company sometimes lays on transport to the other five Vuitton stores in Paris, “but everyone wants to go to that one because it’s the biggest.”
IF WE BUILD IT, THEY WILL COME
To semaphore to the customer that a maison is more than just a place to pick up a monogram wallet, it helps if the building itself is jaw-droppingly attractive and the Sydney Maison certainly is chic. “But we don’t own the building, which means there are restrictions,” explains Ho. Even without these, sometimes the most arresting designs don’t get built. All the architecture models that didn’t make it are in the Vuitton head office, including one of shining metal rods by Zaha Hadid. “One day!” says Ho, wistfully. Do the challenges of preserving history lead to better stores? Not always. “While we’re not interested in destroying heritage buildings, our original concepts are usually better,” says McNulty, who adds that, sometimes, keeping the history can go too far. At the recently opened Milan Maison, he says, “there’s a really ugly mural on the wall. Really ugly. It has a preservation order on it so we built a wall in front of it, so some archaeologist in the future can come in and find it.”
MAKING AN ENTRANCE
There is no grander gesture than empty space, given retail rents are charged by the (astronomical) square metre and here is 59 sq m of glittering floor over which you must walk to reach the central altar of retailing. Walking directly ahead, you enter a ‘fast lane’ leading to what is known as the ‘hot zone’. Here’s where you find the bag that stars in the latest advertising campaign. “The bags that are the ‘fashion moment’ can always be seen from the entrance to the store,” says McNulty. But does one turn left or right? “We don’t want to control that,” he says. “We want to convey to the visitor that there are many things on offer; leather goods, travel, the men’s universe, the women’s universe.”
FAMILIARITY BREEDS EXCITEMENT
The aim is to attract a customer who knows exactly what to expect yet is also in search of novel retail entertainment. Uniform across all Vuitton stores is a colour palette of caramel and toffee, a reference to the checkerboard Damier canvas of 1888, which in turn led to Louis’s son, Georges, inventing the famous monogram canvas of 1896. And, rather as a cathedral has a smaller, perhaps more opulent, altar behind the main one – this only visible to those allowed to venture behind a parclose – so too does the Sydney Maison have its hidden treasure: literally, given the watch and jewellery sales area is tucked behind the ground floor’s central selling station. “The aim is to create a more intimate area, away from the flow,” Ho says.
GOING UP
In all retailing, the challenge is to encourage traffic to upper floors. That’s been somewhat easier since 1857, when the first commercial passenger elevator was installed in a New York City department store. Yet the Sydney Maison has just one customer lift. “It’s not necessary to have more,” McNulty says. “What tends to happen is that people walk around and discover the store by themselves, including taking the stairs. A sweeping staircase – all steel substructure and timber veneer – is visible centre-left as you enter the Maison, inviting you to mount a stairway to heaven – or more precisely menswear first and then, on the second floor, ‘women’s universe’ for fabulous fashion by Marc Jacobs.
HOLLYWOOD GLAMOUR
As Gloria Swanson knew, one must be well lit. While the primary function of store lighting is to make sure you can see everything, at Vuitton, spotlights are trained on the hottest products just as kliegs were once directed on a movie star’s cheekbones. “Whenever we can bring natural light into the store, we do,” says McNulty, who adds that, despite a menu of lighting options, sales staff always choose the brightest setting. But in the ‘try rooms’ (this is Vuittonese for what you and I usually refer to as a fitting room), it is you who control the light, via a panel that allows you to check an outfit under the noonday sun, at twilight and by night.
DESIGN FOR MEN
Even in equal Australia, men rarely shop midweek, which risks a very empty floor. The solution: stick menswear on the first floor so women must go past it and thus might think, “I’ll get him a belt to soften the blow of all the stuff I’ve bought for me.” And when men do shop? “If a man sees a mannequin with an outfit on it, he could well buy the [lot],” says McNulty. Expect to see rows of mannequins. The primary male quest is for shoes. Your shoe guy wants to choose shoes, sit down, try them and buy them. So the chairs here (just one of 10 different designs in use by Vuitton) are the optimum height and tilt for trying on footwear. This is less of a concern in China where, “they have no problem waiting for a seat to be freed up; they’ll do it standing on one foot and they’ll even try clothes on without using a changing room,” McNulty says.
VIP
When spending a penny (as opposed to $4500 on the latest Tiger clutch bag), every customer is a VIP – given the VIP loo is for you. But there’s VIPs and VVIPs. Tucked into a corner of the second floor is an area code-named ‘constellation’, as in ‘star’. Here, those who require additional privacy can be accommodated behind a closed door. As for the old saying that common folk sweat, the rest of us perspire and stars glow, here’s why: the VVIP area has its own dedicated air con. It’s here that the most exclusive service – the chance to get a bag in shapes and leathers of your choice – will be offered. It’s called ‘haute maroquinerie’ in Vuittonese. ‘Hot maroc’ in Sydney-speak? Don’t say we didn’t warn you.
SECRET DOORS
While an exceptional sales associate cannot actually walk through walls, she can tap a mirror to reveal a door that allows her to reach the tills. Cash-and-wrap is hidden from your view, “although we have to make sure that this works well with the flow of the selling ceremony,” says Ho. “You don’t want your salesperson to disappear for too long with your things while you are sitting around waiting.” But what about disappearing with one’s credit card while, even in restaurants, they bring the machine to you these days? “Mostly, people don’t mind,” Ho says. “But in Asia, customers follow their salesperson to the till. People pay cash and need a secure area to count it.”
ECOLOGY
Everything is as ecological as possible, from the certified woods you can see to the basement unpacking area you can’t, where paper and cardboard are stored. “Our Guam store is powered by solar panels,” Ho says. This not an option for Sydney where the building is rented.
AUSTRALIANA
While big-brand stores look somewhat the same around the world, Vuitton makes the effort to help shoppers remember what country they are in. In Auckland, the store features model lambs created by a Kiwi. In Jakarta, there are Indonesian lamps and stools. So for Sydney? The eagle-eyed will spot eucalyptus motifs played out in wood marquetry. Coming soon – although not in time for the opening – LV monogrammed surfboards should provide a clue.
WINDOW ON A NEW WORLD
Windows are an invitation, and a global mega-brand requires lavish displays. “From our standpoint, that means providing the right space and lighting and access,” says McNulty. The secret to quick changes? Panels that can move in and out and doors big enough to accommodate a window dresser carrying a zebra. That is not a joke. The windows in London’s Bond Street currently feature a herd of life-sized African fauna.
Catching the Moment
AFR | September 2011
Where is fashion marching now, asks international fashion editor Marion Hume. Forget Borat jokes; Kazakhstan is a new luxury nexus with the oil-rich city of Almaty the No.1 seller of shoemaker Christian Louboutin’s crocodile stilettos. Yes, luxury labels have reached Ulan Bator. And all other corners of the earth besides.
When fashion wants to look back, it is a sure sign of its unease at looking forward. Of course, fashion continually takes inspiration from ‘vintage’ but that’s not what I’m talking about. Instead, it seems to me, people are looking in the rear view mirror as if wondering, “how on earth did we get here?”
‘Here’ is a world where luxury labels have us so addicted, you almost suspect there’s nicotine in the handbag leather. ‘Here’ is a world where, when it comes to basics, we seem to believe it is others who should take responsibility that the cotton in our clothes is not the same cotton that causes lakes to run dry. ‘Here’ is a place where a clutch bag in iridescent python is described as “so on trend!” despite grave concern elsewhere that the number of snakes slaughtered for style could lead to an explosion of the rat population and then a spread of human contagion.
It can be ugly, this business driven by desire for beautiful things. So thank heavens for Botox, injected into snakeskin to make that clutch bag feel scaly not flakey. I had no idea of that little detail until I read “To Die For. Is Fashion Wearing out the World?” by Lucy Siegle. I’ll hold back on her description of what happens in the slow process of snakes being slaughtered only because losing you too early hardly serves my purpose in writing the rest of this article.
But who’d want such a ludicrous display of wealth as a python purse anyway? Not you, of course; you prefer to dress down. So that cotton Tshirt? Did you check it hasn’t reached your back via the labour of schoolchildren – and their teachers – who are forced out of the classroom every summer to harvest the cotton crops of Uzbekistan? Those new jeans that already look old? We need other people – poorer people – to get the look for us by sandblasting, which is big in Bangladesh, where garment workers are dying of silicosis. Sandblasting is the new fur. You shouldn’t be seen dead in it. Donatella Versace is the latest designer to join the campaign to outlaw it. Expect the next trend in denim to be a direct reaction; dark indigo, except that’s turning vital rivers in India bright blue. It would be wrong to suggest that all the big fashion brands are up to no good. Most of them try quite hard not to be bad.
I can’t think of a single one that has ignored consumer pressure to get with the eco agenda. But now they have done the easy stuff (cutting down on packaging, changing the light bulbs, rerouting grey water to flush the loos), it’s a hard road ahead. For those just entering the business, that road must seem almost impassable. Even if a young designer does get a break, financial pressure now translates as shareholder demands front of mind. And if our young talent still believes in fashion as ‘art’, what chilling examples are to be found: Alexander McQueen dead by his own hand in London; John Galliano, who killed his career with antisemitic rantings in a Paris bar.
The pressures of producing endless fantastical collections generating those endless dollars can prove unbearable. Which leads me to looking back. About a year ago, I started getting random requests for a six part BBC fashion documentary called The Look which I worked on from 1990 to 1992. In the past six months, interest has increased from England, Australia, Korea . . . and unsolicited emails arrive from those just born when it was first broadcast. They are reacting to the six episodes posted on vimeo (videosharing website used by creatives) with the wonder of archeologists stumbling into Tutankhamun’s tomb. (OK, that’s a gigantic exaggeration, but one thing that will never go out of fashion is the industry’s ease with hyperbole).
Anyway, the other day, I too found The Look online. I understood instantly why the clothes appeal now; they are so utterly out of fashion, they are on the way back in. I suppose watching the late Gianni Versace, Moschino and Yves Saint Laurent appeals to this constituency the way The History Channel does to guys obsessed with WWII.
In The Look, names now thought of as brands still belong to people; in the program Donna Karan admits in it she has only recently stopped opened all the mail with her name on it. The supermodels are in their prime. “I don’t know what a supermodel is. Does it mean I’m super?” squeaks Linda Evangelista, her voice surely as shocking as when silent stars switched to talkies. And there’s Carla Bruni, with the face she was born with, wisely saying nothing, missing nothing; good training for the future First Lady of France.
The doco seems to capture a golden age; a moment in time before things went absolutely crazy. Not that all was calm. In 1992, the series was aired around the world, perhaps to the chagrin of marie claire editor, Jackie Frank, then a New York based stylist, whose feisty reaction to a scrum scene outside a Jean-Paul Gaultier show was viewed by the folks back in Melbourne. Crowd control has much improved, but otherwise, that lack of organization had advantages. PRs were posh women in pearls. Today’s media managers would never let anyone get the equivalent of a shot that goes on and on as Yves Saint Laurent ‘Elnetts’ his bouffant backstage.
Lurking about was a guy in a tie we never bothered to interview. Bernard Arnault was in his early 40s when The Look was being filmed and looks vulpine, stealthy, as he circles his prey. The rhetoric the chairman and chief executive of LVMH pushes today is that fashion stars don’t matter as much as they did. Now it’s all about the product. (This from the man who – at time of writing – has no viable designer for Dior).
But in 1990, he was the star maker to Christian Lacroix, an experiment that would fail to the tune of €150 million in losses over the years. That Arnault’s other instincts were more sound is evidenced by his current status as the wealthiest man in France, with a Forbes-estimated worth of US$41 billion.
Today, the money is on the quiet ones, specifically Phoebe Philo, who heads up Celine and is independent of spirit (though not in business, Celine is part of LVMH). She creates uncluttered clothes for busy women and references her own needs as the stylish mother of two young children. Yet her sartorial statements echo those of the leading minimalist we talked to back in the early ‘90s. Giorgio Armani’s muted palate and unadorned silhouettes were exactly what sophisticated women yearned for back then, although this being TV, we cut away from frocks to shots of his home, complete with five colour-coordinated Persian cats.
The landscape of fashion was expanding, literally; it was the beginning of the identikit designer superstore in London, New York, LA (although we would have to wait until the millennium for most brands to open in Australia). That territorial land grab goes on. Twenty years ago, China was the place that made the cheap stuff. Now 20% of goods labelled Prada are, legitimately, made in China.
Where else is fashion marching? Forget Borat jokes; Kazakhstan is a new luxury nexus and its oil-rich city of Almaty the No.1 seller of shoemaker, Christian Louboutin’s crocodile stilettos. Where there’s muck, there’s frocks and fashion mags; Cosmo Mongolia launched in the wake of Rio Tinto mining the massive Oyu Tolgoi copper and gold deposits. Yes, luxury labels have reached Ulan Bator. And all other corners of the earth besides, thanks to e-commerce.
Asked in 1990 what her life’s ambition was, New Yorker, Donna Karan shot back, “A Broadway Show!” Today, her response would be more holistic; her company is, for example, among pioneers trying to source product out of Haiti to aid its reconstruction. Vivienne Westwood played the pantomime dame in The Look; her fault and ours, given she was the one cavorting around in a nude body suit with a gold fig leaf. But we didn’t listen when she went on about global responsibility. We just thought she was bonkers. And great TV.
Recently I’ve been working closely with Dame Vivienne and know her to be wise. I consult for the UN-World-Trade Organization agency, the International Trade Centre, on the Ethical Fashion Program which links top designers to some of the world’s poorest people. A growing percentage of Vivienne Westwood accessories is produced in the slums and drought-stricken regions of East Africa. Driving across Northern Kenya, seeing hardly a tree because those farmers whose animals had died had felled them to burn and sell for charcoal in order to feed their families, the designer’s ardent advocacy that climate change cannot be ignored makes poignant, sound sense.
Fashion as a vehicle out of poverty? Who would have thought that in 1990 when we were getting excited by who had a mansion, who had a yacht? Yet you can create lovely beads from the carcasses of cows dumped in a slum, you can make handbag hardware from brass salvaged from abandoned cars. Artisan skills, from screen printing to embroidery, can be done by those displaced by conflict, quickly earning them a living wage.
Not that the Mighty UN is the only body to have identified fashion’s unique power. There are scores of smaller initiatives: from Ecuador (The Andean Collection, which offers natty felt hats to Manhattan urbanites) to Ethiopia (Sammy Ethiopia, whose featherlight scarves, wrapped over bikinis, are a summer hit among the Med set). Spurred by its success in Uganda and Cambodia, the Spotlight Stitch in Time program operates in Australia’s Top End where, it is hoped, the provision of sewing machines and support could mean that indigenous women, among the world’s most marginalised, may earn a place in a lucrative value chain.
While small companies can react to changing needs and, designers such as Vivienne Westwood can be nimble because she retains control of a business (with estimated annual sales in excess of £120 million ($189 million), plus ownership of all key retail real estate. Who’s bonkers now?), the fast fashion juggernauts require a longer turning curve. It is encouraging that Pablo Isla, the new man at the top of Inditex (owner of Zara) has pledged to make sustainability a cornerstone of all of activities and has announced that his company has signed on to the Better Cotton Initiative and The CEO Water Mandate.
At the dawn of the ‘90s, it was the Ladies-who-lunch who fascinated. I’d certainly never met anyone like couture-clad Texan, Lynn Wyatt, a damn good sport who agreed to wear a wire so we could listen in to the front row set. Now, those I record (entirely legally) might be scientists, hardly a profession known as best dressed. Fashion professional Helen Storey works with boffin, Tony Ryan, to create dresses which disappear, thereby demonstrating that detergent bottles of the same material (polyvinyl alcohol) can “knowingly” reduce to a compostable gel once empty. There’s Dr. Helen Crowley of the Wildlife Conservation Society whose biodiversity objectives include sustainable cashmere, this to stop over-grazing of goats and so save the rare Przewalski’s horse from extinction.
Fashion really is everywhere, (Benin Fashion Week followed Mercedes-Benz Fashion Week Australia, by the way), its glitter sprinkled even on Magnum ice-creams (Karl Lagerfeld just shot the TV commercial). Yet the given is, it always reacts to what has gone before, hence Tom Ford, – he of Gucci runways vast enough to land an A380 – now favours salon presentations, no cameras allowed. While Vuitton-checkered flags flutter over all points of the compass, upcomers want just a handful of stores, or only one, in Paris. When you can get everything everywhere, a thrill lies in something you can only find somewhere.
In the days of The Look, we never spoke about Corporate Social Responsibility (CSR); now those in power recognise fashion must become more fair to respond to consumer demand. While eco is a trend with staying power, claims for eco cred must become more intelligent. Pack purchases in paper in a world short on trees yet littered in plastic bags? Let’s rethink that. Marginalized women across Africa are cleaning and crocheting waste that would otherwise be burned releasing dangerous dioxins. A plastic-bag crocheted tote from Zambia, with no designer label, has replaced the Birkin as the schlepp bag of choice for a New York tastemaker I know.
Last year, Naomi Campbell was called to testify at the international court of justice at the Hague. Her memories of 1997 when she was given those “dirty looking stones” reminded us what a filthy business the diamond trade used to be. The Kimberley Process Certification Scheme (KPCS), formally adopted in November 2002, has done much to clean up things, to the point that if you splash out on something sparkly from a reputable jeweller, you can be confident there’s no blood on your hands.
Fashion is much more diverse than the international gem trade (itself still grappling with the transit of illicit precious stones from Burma, Zimbabwe, etcetera and it should be noted, the KPCS does not cover environmental concerns nor guarantee fair trade). It will take wisdom, time, effort for a clear international system of ethical labeling to become as useful as the one inside your jacket that directs you to cool iron or dry clean. While the 21st century journey of that jacket to your back is way too complex to fit on an actual label, there are positive developments.
Just as e-commerce has made it possible for the consumer to voice concerns (much easier via pressing “contact us” than trying to get answers from a harried shop assistant), so might m-commerce on smartphones allow us to receive the life story of clothes just as we are deciding whether of not to buy them.
There are no plans I’m aware of to make a sequel to The Look but if there were, what moment might it capture now? I think this is the time where those of us who love fashion face up to responsibilities that include saying “no” if something seems too cheap, in the awareness that it may carry other costs we can’t countenance. The Look captured a moment of style. If a sequel could capture the moment of style equaling substance, wouldn’t that be good?
Stop, Revive, Survive
Singapore + Bangkok
Harpers Bazaar | September 2011
Breaking up (the journey) is not hard to do with BAZAAR’s guide to the cities worth a trip beyond the transit lounge
by Marion Hume
Reborn as Cool: Singapore
If you still think Singapore is dull, you’ve evidently not sipped a Southside (Tanqueray 10, fresh mint, fresh lime) while lounging at Lantern, the jaw-droppingly fabulous poolside bar which sits atop the Fullerton BayHotel.
Lantern derives its moniker from the old Chinese name for Singapore’s historical Clifford Pier: Red Lantern Pier. But that’s the only old-fashioned thing about this joint. Old Singapore? Forget it. The people here have, except in the city’s excellent museums. As for the 21st-century city, where else can you find a cathedral of commerce to rival the newest Louis Vuitton megastore accessed by bridge to its very own island?
STAY: The waterfront conversion, (calling this project “ambitious” would be ridiculous understatement) is at last complete. What that means to the stopover visitor is not just glittering views but also a safe circuit that you can walk, or run at 4 am, should you choose.
Come to your senses and enjoy a leisurely breakfast on your balcony instead (scrambled eggs and shaved black truffles, for instance). The Fullerton Bay Hotel is the 100-room groovy little sister of the stately old dame The Fullerton, the latter a grand treat that can wait until you have gray hair.
Think twice before staying at the much-talked-about Marina Bay Sands, with its three, 55-storey towers topped by a jetsons-style SkyPark and an outpost of Bali icon Ku De Ta. When I visited, the line to check in for a sneak peak was longer than the line at the airport. Which is not to say this massive complex, which seems to rise out of the South China Sea, isn’t awesome to admire from a distance.
If your budget is tight, rest your head in a room so dinky, you’ll marvel how they fitted in the power shower and Nespresso machine. Blue Monday is painted blue, from ceiling to skirting board, and is teeny. It is a room on the first floor of Wanderlust, where every room is named and colour-coded (surprisingly useful when you are jet-lagged). Wanderlust is a gem in Little India, the last still-authentic neighborhood on a tiny island that is no stranger to change. But think carefully before checking in to the third floor where rooms are themed after monsters (strange, but true). The Typewriter room features a keyboard straight out of an acid trip by American novelist William Burroughs. Having spent my life on a nightmare of deadlines, I’ll pass on that one, thanks. You might like the tree monster room, though; an enchanted forest with a mezzanine bed.
Singapore is designed for stopping over. There’s the easy-peasy train link from Changhi Airport, from whence you can store your luggage and venture into town with just an overnighter. Free WiFi, local calls and non-alcoholic drinks are often standard in hotel rooms, as are iPod docks and great toiletries by the likes of Molton Brown and Kiehl’s. And toothpaste. Useful if you’ve left that in the big bag at the airport. The Quincy, my favorite stopover hotel on earth, also offers free laundry of a couple of items a day and hearty, hot, breakfast, lunch, dinner included in the room rate plus an infinity pool open all hours.
SHOP: Stopovers from Australia usually arrive in the evening, so once you’ve spend your first night at Lantern, it’s up early for shopping. The waterfront has all the luxury brands you’d expect but if you want bargains, head to Mall 313 on Orchard Road (the main shopping nexus). 313 isn’t the shiniest mall, but it stocks local brands (don’t bother unless you are of nearest Asian proportions) and the fabulous Uniqlo (which fits all).
PLAY: What to do in Singapore? The answer used to be eat then eat more, and that has stayed the same. What’s changed is the scope, which now includes Cocotte, a French brasserie at least as good as any in Paris. Cocotte is at Wanderlust. You don’t have to check in to enjoy a “pissaladiere”, one of those nicoise-style onion and anchovy tarts that are perfect for lunch.
The sights? I lived in Singapore years ago, when they were busy bulldozing most of those and I have to say, having stayed in a traditional wooden slatted home and been eaten alive by mosquitoes, I’m not sorry it’s changed. The Singapore I remember is preserved in the Chinatown Heritage Centre on Pagoda Street. Do dash in. It’s authentic except for the air-con.
Otherwise you can come to this frenetic city and just relax. The Tanjong Beach Club (day membership available) is a sexy beachside enclave of pool, volleyball, bar and cabana just a stone’s throw from the heart of the city and is the perfect place to spend a sun-soaked afternoon. Twenty-four hours in Singapore? You could just throw the bikini in your hand luggage and chil here sipping mai tais until your night flight to Europe.
Bang For Your Buck: Bangkok
Unlike Singapore, Bangkok is not a easy city to grasp fast, so keep things simple. What’s required for a 48-hour jaunt is a peaceful place to stay, a few fantastic restaurants and after some great shopping, a wonderful massage. And as little time spent in traffic jams as possible.
TRANSIT TIP: If you arrive on a Sunday, you’ll save an hour on the route in from the airport. Avoid airport transits on a Friday night. While Asia’s other tourist hubs have affordable airport links, Bangkok’s can be a nightmare. Consider that your most extravagant spend should be a limo transfer (pricey, but great are those that meet you at the gate and whisk you past lengthy immigration lines) or get your hotel to send a car.
The problem with Bangkok is that there is no central taxi service hub and no reliable maps of a city growing and changing by the minute. Unless you have girl-scout skills of navigation, it’s wise not to believe the driver who says “near, near” and urges you got get out prematurely. Always carry a card with your hotel number, the phone number of where you are going and the address in Thai and English script, and know that calls on your driver’s local mobile are almost free (tip heavily). It is not unusual for taxi drivers to be remote-phone-navigated to your destination.
STAY: Check in at The Eugenia, an old colonial house with a pool in the central courtyard. But hang on: Thailand has never been colonized, so what’s with this “Indochine” mansion- all dark wood floors, high mahogany beds and copper bathtubs? It’s a fantasy, built just five years ago. Who cares? The details, both antique and repro, and the vast tables of white orchids, are glorious. Stay in the neighborhood until you get your bearings. Ruen Mallika is a wonderful restaurant to Thai-up your tastebuds and just a short taxi ride from the Eugenia.
PLAY: For cocktails, it is Vertigo on the roof of the Banyan tree; aptly named given it is 61 floors up (check online re: the dress code). Or for another way to achieve bliss with no dress code whatever, get a Thai massage at Oasis Spar (they’ll send a car to your hotel and you could leave from here direct to the airport).
EAT: You must go to Nahm, Australian Thai food guru David Thompson’s restaurant in the Metropolitan hotel. Sell the car, rent your house out, do whatever it takes to eat here. What to eat? Frankly, my notes are pathetic, I got as far as ” clear soup with crab meat, scallop salad with grated coconut” before I realised no words of mine could describe the majesty of this food. Simply brilliant.
SHOP: With 48 hours, you’ve just enough time to order a bespoke suit form the Tailor at Sukhumvit Road (try Raja Royal Tailor at Sukhmvit 4, Tanika at Sukumvit 14). For beautiful glassware, go to Lamont at the Four Seasons.