The COMO Conversation

Christina Ong: “It’s about keeping things simple — although meaningful simplicity can be hard to attain. I’ve always believed that great luxury design is distinct from trend-based, throwaway culture which dazzles but doesn’t last. That’s why I’ve also always liked the description we attached to The Halkin from the moment we briefed the architects back in the 1990s.  A ‘home from home’. Because homes hold memories. They are familiar, and comfortable. They are a sanctuary you can trust. The challenge for Linzi was how to hold on to that heart over 30 years later.

CO: It started with a feeling that luxury had to mean more than a show of wealth, that’s it’s more intimate than that. I was in Milan for fashion week. I realised I wanted to stay in hotels where I could feel completely at ease while on the road — somewhere with intuitive, compassionate service. And beautiful, contemporary design that made the most of generous volumes and natural light. I was inspired by the Duca di Milano — just a few suites, with an exceptional concierge. I couldn’t find the same in London, so I decided to create The Halkin out of that need. I didn’t think then that it would grow into a company with 15 hotels and resorts worldwide, as COMO Hotels and Resorts is today.

LC: No, the opposite, especially when it comes to a hotel like The Halkin. The original design was made to last. Which is why I haven’t just replaced furniture, but re-holstered original furniture where possible and introduced new elsewhere, bringing in those elemental tones relating back to the bathroom marble. My brief was intelligent and sustainable, but also respectful of the guests who regard The Halkin as a familiar place. The 41 rooms and suites occupy a discreet Georgian-styled building with a garden view at the rear. The ground floor has always been a popular, low-key place for guests and Belgravia residents to meet. To keep that feeling, of a neighbourhood retreat from the hustle of the city, was important. Likewise, we have hotel guests who would have been very upset if we’d altered the essence of why they return. All the corridors are dominated by dark timber panelling, with a defined vertical groove. It’s on a curve. It is surprising to find guest room doors hidden into this wall; they feel like entering a secret world. To me, it’s an innovative design feature and feels very contemporary, even after thirty years. It’s something I wish I’d come up with!

LC: Well there’s the part you won’t see, because it’s so seamless, but a lot of work went into updating the in-room technology. Subtly introducing more colour into the underlying neutral tones of the rooms has been especially enjoyable. Each floor of the hotel is inspired by a different tone — that was part of the original scheme, based on the elements. You can see it in the bathroom marbles, which run from dark green for earth, to a beigey-gold, rust, dark-blue and on the top floor, a black and white to evoke the sky. We’ve been able to deepen these basenotes through the room interiors, in headboards and leathers, which is subtle but uplifting. We’ve used natural materials where possible that will continue to age and patina beautifully. Timeless — that’s always been critical working with COMO. It’s a word that should never fall out of fashion.