Interview by Margherita Pincioni

MODES opens this winter season by inaugurating a new pop-up in the heart of the prestigious Alpine tourist destination of Gstaad. The pop-up will be located inside the five-star luxury hotel The Alpina Gstaad from mid-December until spring 2023.

More than a place to stay, Alpina is an icon of conscious and responsible luxury. Located in the heart of nature, the hotel has received the Gold certification from EarthCheck, combining Swiss traditions with sustainability and innovation.

Keeping a zero-waste practice, the new MODES project foresees that all elements can be easily disassembled and remodeled. Modularity, flexibility and light: these are the pillars on which the Gonzalez Haase AAS studio has conceived the space.

The grid structure of the pop-up houses all necessary functions for the boutique, designed to adapt to different set-up needs, while two seats are inserted as independent elements. The finishes follow the constructive logic by differentiating vertical elements treated in brushed stainless steel and horizontal ones in polished stainless steel. The lighting system is conceived as an independent infrastructure that runs in full view on the structure.

A detached showcase element, imagined as a satellite structure, is placed at the entrance to the resort hall. These are three circular metal platforms of different sizes, designed to be stacked on top of each other and to be composed in different configurations.

The Berlin architecture studio has already built MODES boutiques in Porto Cervo, Paris, Forte dei Marmi and Cagliari.

“Alpina Gstaad and MODES share the same values and goals in supporting and offering a platform for emerging creative talents from all over the world: the result is the affirmation of a vision suitable for an audience of demanding and environmentally aware travelers .” – Aldo Carpinteri, MODES CEO & Founder.

Present in Italy, France and Switzerland, MODES currently has twenty-two boutiques in the most prestigious destinations in Europe. In addition to Gstaad, MODES operates five stores in Switzerland: St. Moritz; a multi-brand MODES boutique dedicated to women's and men's selections; a multi-brand MINIMODES boutique dedicated to kidswear; and three boutiques in partnership with Alexander McQueen, Burberry and Jil Sander.

Can you tell us about the stylistic choices of the new exhibition space?

Pierre Jorge Gonzalez and Judith Haase / Gonzalez Haase AAS studio: For a few years now we have been collaborating with Modes to open stores and design all necessary spaces for the company. The strategy we developed together was not to repeat the same design on each of their new spaces, like many brands will do, but to have a unique design with specific local anchoring points. Those local or contextual points can vary widely in between the weather aspect of the city for example or the naked structures of the building where the store will be located. For Gstaad it was necessary to create a contrast due to the nature of the intervention. We did it by taking two strong directions. First by using cold slick stainless steel against the warm wooden-chalet style of the hotel, then a wire-form almost an invisible design, in contrast to the bold construction. 

From one side you create a unique set-up in contrast to the context, on the other way by being so wire-frame you don’t disturb. The result is, we believe, a well integrated intervention. 

What message do you want to convey with this latest project?

AAS: We don’t pretend to have a message for anyone. We just try to have a design that somehow is true to what it represents. To better explain, we try to propose a design which, even if it doesn’t convey a message, proposes a form of reality toward the construction design industry in general and the interiors in particular. To resume this motto, we could say "what you see is what it is". The meaning behind is to avoid fake construction which may show something which is something else on its substance, pretending to be what it can’t be or afford. To achieve this we escape the very old idea of exclusive materials and replace them by affordable ones which are not always designed to be a finished or pretty material. There are no noble materials there. 

We have a similar approach to the lighting that wants to show not only the goods or the art we exhibit, but bring the light also to the architecture and visitors. It goes all at the same level and creates a form of accessibility. A more democratic lighting. 

Versatility, flexibility and light, how important is the interaction between these aspects?

AAS: It is difficult to say flexibility. We don’t believe so much in design which is flexible in the sense it can move. At the end, by experience, we know it stays at the same place and by wanting to be so flexible, it disappears behind the product it pretend to present. It doesn’t change the functions but forces small scale objects to be able to be moved by the staff. The multiplication of those objects, even if moved from one week to the next, makes the space always looking the same. 

We prefer to create flexibility via eliminating the obvious function of the object and replacing it by a frame-like idea. It’s a bit how an art gallery will display art pieces. You don’t need to build a specific display for each art piece but better need a good simple space which can be a large wall or room, and make sure the light is right to see this art. It is about the space you give.

Does this modular and re-modular structure enhance the ethics of sustainability and upcycling?

AAS: The hotel is located in the mountain and the store is open in winter during the high season when you can come there to ski. After that time, the store is dismantled, packed and used eventually to another location where the summer visitors will come. Those pop-up are a bit like fairs. Even if the industry is today changing, it is necessary to re-question how much resources one needs for such a short term event. We made a light and transparent structure which could be dismantled, rebuilt, even in a different configuration and anywhere else. 

With what criteria did you plan the transit and permanence of people within the space?

AAS: To make such a space a working retail space , it is necessary to have enough display to showcase a large range of products, if many are displayed, you have enough choice and the business is viable. Our strategy on such a small retail space was to organize it like a temporary storage without hiding anything from the existing space of the hotel. If the customers appreciate the classic cozy warm atmosphere from the hotel, it is clear that the contemporary design of the clothes is also part of their taste. Then creating those “integrated” contrasts makes the store a design. 

To realize a project, how important are the context and the history of the place?

AAS: Context is always present in architects minds. But there are so many ways to think about what it means. We conventionally think context as the physical resemblances between buildings and styles, or identical sizes or similar volumes, matching materials and colours, aligning windows and decor… When you design an interior no one asks you about the context. Interior spaces have been built and rebuilt with layers overlapping one after the other, without any form of consideration on the building itself. It seems the context is not needed. So where and when do we need the context? We think the context in layers: city structure, building style, type of construction we are in, but also specifics like climate, cultural aspects, history. So there are different ways to connect to a context. We like generally having something contextual on each project. It can even be resourcing local materials which, if used correctly, could create recognition from anyone used to see this material in their own city. For the foreigner, it becomes a discovery. 

What kind of audience are you targeting? How has the way of traveling changed in recent years?

AAS: When we think of a project we like to anticipate the ideas of the client. We don’t work for a client but partner with. We want to think of the customer like a very autonomous person interested in the final product with possible cultural reasons. Culture is here in a wide definition. We believe it is possible to insert cultural aspects on the space design, at any level. Maybe you don't connect the first time you see it, but by getting in contact with, you get used to, then recognise it. Any culture works this way. 

How do you stimulate the viewer’s imagination?

AAS: It’s always the same: or you use recipes that work for a little time until it is burned and gets boring, too much seen and as we say "has been", or you try harder to look for something new, taking some risks. Finally in this context we work to show what other designers or artists have been working on, considering of course the fashion designers. You can’t just come with recipes. Being surprised the first time you enter a space but losing interest the second time you visit, makes you think.  If you focus the design not into the space but into an idea, let’s say just a spectacular object, next time you come in and see the same object you then lose interest. 

How do you create a space that is about how you feel a space? We can think about what great spaces are, from an old church to some museums when you enter them. It is not about the funny idea that will amuse you the first time you see it. It's so much more. 

In your works you have experimented with new ways of approaching design at the confluence of art and architecture. What is your working process?

AAS: We are very interested in how the art is processed, how artists process. An art piece can be excellent without any financial consideration of the investment to produce it. It can go from a simple drawing with a pen Bic to a multi-million production. Somehow it is about the final work. The work is consistent whatever is the production price or the technique. Interior spaces are much seen the other way round. You need to show expensive materials and handmade craft to be considered valuable. You create an expensive space, all handmade, with exclusive materials coming from faraway, and potentially, to create more interest, you add a picture from a well known artist considering everyone will recognise how expensive it is. We want to think of a space where the budget is kind of secondary. Whatever the investment, the space seems resolved. So it is not about fake materials trying to be what they aren’t. We believe the visitor can read this or get to understand it, or feel it. 

You created the MODES boutiques in Porto Cervo, Paris, Forte dei Marmi and Cagliari. What are the differences and similarities between these projects?

AAS: They are all thought differently, within their own context, but all with a similar approach to the design by AAS. This could also be style. Finally we find it interesting to create something that is very AAS, but also totally Modes. 

How did the Alpina Gstaad x MODES collaboration come about and what values ​​do you share?

Aldo Carpinteri / MODES: The collaboration between MODES and The Alpina Gstaad stems from the common desire to enjoy the beauty of prestigious locations with an eco-conscious philosophy. More than a place to stay, the Alpina is an icon of conscious and responsible luxury. Located in the heart of nature, the hotel has received a Gold certification from EarthCheck, combining Swiss traditions with sustainability and innovation. MODES share with the resort the same values and objectives in supporting and offering a platform for emerging creative talents from all over the world: the result is the affirmation of a vision suitable for a public of demanding and environmentally conscious travelers. Consistently with the resort's mission, the new MODES project was built with the idea that all of its components can easily be disassembled and remodelled into new configurations. Modularity, flexibility and light: these are the pillars on which the Gonzalez Haase AAS studio conceived the space.

You have gone from e-commerce to the physical store, can you tell us about your journey?

Aldo Carpinteri / MODES: In the last years, MODES expanded its presence both in capital cities such as Paris and Milan and in Europe's most iconic resort locations such as St. Moritz and Gstaad. In parallel, the online platform was also strengthened, also thanks to the consolidation of MODES Concierge, an omnichannel personal shopping service active worldwide. The combined growth of the two channels creates a unique model of interaction between digital and physical, proposing an individual experience to our clients. Through the omnichannel approach we have found a way to create an international community that discovers our boutiques in the most prestigious places in Europe and stays connected to the MODES world even as their journey continues, building a seamless relationship that can last during time.

You currently have twenty-two boutiques in the most prestigious destinations in Europe, what do you foresee for the future?

Aldo Carpinteri / MODES: MODES aims to continue its international development, setting a new standard for an informed, global audience. MODES is currently present in Italy, France and Switzerland.

Which brands have you selected and what are the selection criteria? How do you look for emerging stylists?

Aldo Carpinteri / MODES: For the pop-up within the Alpina resort, MODES selected a fashion edit for men and women featuring a mix of established names and emerging designers. This will be the chance to enjoy a delightful shopping experience, celebrating self-expression and diversity in style. The research for new talent comes from the international up-and-coming scene, from which MODES selects a few names each season for inclusion in its portfolio, breathing new into the selection.

You offer a customized customer service; how does it work?

Aldo Carpinteri / MODES: Conceived as a digital extension of our boutique experience, MODES Concierge is an omnichannel personal shopping service. A dedicated team of experts, just a WhatsApp away, engages one-to-one conversations with the community by proposing ad hoc looks or responding to specific requests.

Do you plan events and installations in the new pop-up space?

Aldo Carpinteri / MODES: After a first partnership in the Milanese flagship back in June 2022, MODES renews its collaboration with Sestini Eyewear by launching a sustainable capsule dedicated to the pop-up of Gstaad. Both committed to eco-friendly projects, we look forward to presenting the capsule as a celebration of craftsmanship and savoir-faire at the beginning of February. The glasses are made with the planet and the wearer's well-being in mind. From the moment they are taken out of their 'leather' pouches and the lens cloth they are wrapped in (both made from plant-based materials), the sunglasses naturally become an instant must-have. The capsule will be launched with an event inside the Alpina Resort, where Carlo Sestini, founder and creative director of the brand and MODES invite their friends for an intimate cocktail moment.

What is your digital strategy?

Aldo Carpinteri / MODES: Our digital strategy pursues the goal of bringing the digital and physical experience ever closer together, multiplying the touchpoints through which the community can explore the MODES world, thereby shortening the distance. We recently launched our pop-up section on modes.com. Powered by the Concierge service, this section revolves around rare and unique objects, a new showcase for the best in art and design, fine jewellery and luxury watches. A new frontier for our international audience, which recognises MODES as a discovery hub for excellence in every sector.

What are your next goals?

Aldo Carpinteri / MODES: Given the excellent signs given by the latest results, the group's next goals include consolidating expansion, of which next steps will be announced in the coming months.