The Ritz-Carlton Toronto; This is a Ritz?

the original and first Ritz, in Paris, opened over 100 years ago; it is on Place Vendome, and has an 18th century dressed limestone facade; photo SwF the entrance of a slightly later Ritz, the one in Madrid, done in the 18th century style, dressed stone architecture; it is also over 100 years old; the meticulous plantings in profusion, the grand historic revivalist style, and ambiance of luxury are what made the name world famous; others rushed to emulate the distinctive style; photographer unknown the south facade of the new Ritz-Carlton Hotel in Toronto; these rooms face Toronto's iconic CN Tower the main entrance of the Toronto Ritz-Carlton faces north and the massive brackets are also clad in grey resin or enamel panels; the Brutalist aspect of these supports is rather looming as one approaches the front doors; the effect is cool and dark the north facade of the Toronto Ritz-Carlton; the building is in a revival of modern International style, clad almost entirely in glass; the style has been ubiquitous for so long that it has become all but invisible although the hotel is situated in a very dense urban environment, a small sliver of park to the north of it offers much needed natural relief beautiful, 30" large bronze maple leaves set in the Perlato Sicilia marble floor of the lobby another view of the huge bronze leaves detail of a staircase in the lobby, note the different finishes of wood; the lighter wood is a very light, satin finish veneer, the back wall is of rough hewn, dark planks or narrow panels set horizontally; the railing is capped with a highly polished brass or bronze material this sculpture in the lobby is of engineered stone; considering that vast areas of Canada are covered by the Canadian shield, real stone such as rich red Quebec granite would have been more fitting; the art is typical of the lobby in the hotel; it is retiring and unemotional enough to be quickly forgotten this back patio of the Ritz-Carlton has a nice southern exposure but the appointments seem dull, reminiscent of institutional outdoor eating areas of schools and hospitals discreet flower arrangements in the lobby; in a country that has just gone through a long winter, these strike me as autumnal in colour amoeba like fixture in the lobby is strung with rows of crystal orbs; the effect is somewhat like a dazzling cinema marquis or Vegas casino sign detail of lobby decoration; the upholstered chair is very similar to circa 1962 modern ones and arm rests have been dispensed with; large expanses of light wood veneer wall covering, strange juxtapositions of scale and material in the selection of furniture give a random, unharmonised effect bar off the lobby; tubular steel chairs evoke the cheapest, mass produced kitchen sets of the 1960s; for international travellers, red lights have questionable associations and I am puzzled by this selection alcove of the lobby; wood veneer wallcovering, angular modern chairs and an ugly piece of dark brown wall art depicting a row of plants with a cross section of the earth as in an elementary school Science diagram; loose cushions in all chairs prevent one from sitting back and relaxing

Two years ago, I was excited to learn that Toronto would be getting a Ritz-Carlton. I've always been interested in grand luxe hotels and how they welcome people and make them feel pampered away from their everyday lives. I looked forward to having our own Ritz and also to my first viewing of it. Over the past six months, I've tried on several occasions to contact the hotel, in anticipation of the scheduled opening. E-mails to different departments were left unanswered, and I thought perhaps that in the rush to prepare on schedule, they were overlooked. As the opening date drew closer, I contacted management who apologized and said that they would arrange a visit. A date was proposed but unfortunately I did not hear back.

In my experience of over three decades with some average and some great hotels in North America and Europe, this is the worst example of service and communication I've experienced from any hotel, let alone one that is supposed to be five star. In terms of service, I've given up hope on the Toronto Ritz-Carlton, by both their public relations departments and management.

This aside, my intention was to study the design of the hotel rather than the service, but I have been disappointed with both areas. The exterior of the building is clad in glass, in a revival of the International style. There is nothing unattractive about the exterior, but there is nothing unique, special or memorable. The entrance to the hotel is characterized by huge overhanging brackets reminiscent of the Brutalist style of the 1970s. As I approached the entrance, it felt a bit like being in the gloomy, desolate area under a raised freeway. I peeked in the main restaurant and reviewed the menu. The dining area is windowless and has a low ceiling, giving an ambiance or lack of it, which I found unwelcoming. The decor is in a generic, modern style that can be seen in any middle of the road hotel (okay the carpets were wool rather than synthetic), or for that matter in any recently decorated McDonald's.

"Disappointing" is the word I would use to describe this new hotel. Ritz hotels around the world are managed by different companies and have varying arrangements for the use of the Ritz name. The name is synonymous with luxury accommodation, but one can see that in this case, the style is far removed from what made Ritz hotels famous. Cesar Ritz himself selected decor of the Louis XVI period, actually a revival of the style 100 years after the original. He adopted modern principals of hygiene and ventilation, and wooed the greatest chefs, sommeliers, and service people to create an environment reminiscent of a beautifully managed palace.

While these tenets, over a century old may not be entirely applicable to a hotel in 2011, there must be some sort association, even a vague one, to the great name of Cesar Ritz which is known for luxury and taste. I could not see any sort of fleeting acknowledgement to the history, nor the very definite style of Cesar Ritz, and I wondered if the designers and architects have any understanding or awareness of the Ritz heritage. This hotel is clean, new, and understatedly luxurious. It is also entirely forgettable, and lacks any associations or links with the grand style of a classic Ritz Hotel. In a very large city, with many fine hotels, this is not the hotel I would select for accommodations, a special meal, a reception, a drink, or afternoon tea. In Toronto, the closest one would come to classic Ritz style would be the Beaux Arts King Edward Hotel on King Street, managed by Meridien Hotels.

Toronto, a city of over five million people, is long overdue for 5 star luxury hotels. The Toronto Ritz hasn't shown anything extraordinary, however the Shangri-La, the Four Seasons, and the Trump will be opening in the near future, and I haven't given up hope yet of my Toronto dream hotel. In particular, I hold high hopes for the Four Seasons, as any experiences with their hotels have been impressive, and the location of the new building in Yorkville seems to be ideal.

all photos except Ritz Madrid, SwF

The Illustrious Style of Ritz

the original Ritz on Place Vendome in Paris, opened in 1898; photo by Vlastula; wikipedia

classic old Ritz Hotels usually decorated with a lot of royal blue, seen here on an embroidered towel, it manages to look both elegant and crisply clean

for the Ritz Hotel in Paris and London, Cesar Ritz specified silver serving pieces such as trays, wine buckets, vases, tea and coffee services featured the classic, simple, Louis XVI reed and ribbon motif; many of these pieces by Christofle are still in use after 100 years

this Royal Doulton teacup is of the special pattern used by the Ritz, London; it features the classic Louis XVI reed and ribbon with garland motif

Louis XVI furniture, often with wood inlay, has been used at the classic Ritz Hotels in Paris, Madrid, and London

a typical piece of Louis XVI revival furniture with fluted, column-like legs, and painted wood finish

Sevres inspired porcelain emphasises the French 18th century style that Cesar Ritz himself selected for Ritz Hotels in Paris, London, and Madrid; this piece was originally intended as a milk bucket at the dairy of Marie Antoinette, in modern times it is used as a planter or wine cooler

most Ritz logos in some way incorporate a regal lion in their logo; this one is from the Ritz-Carlton (not affiliated with the American chain owned by Mariott) in Montreal
the most important piece of furniture in a hotel room is the bed; great classic French hotels and Ritz Hotels inevitably have a canework or upholstered headboard in the Louis XVI taste

a metal key fob from the old Ritz-Carlton in Boston features the head of a lion and crown

vintage table linens from Ritz Hotels featured emblems and crests reminiscent of those of French nobility, note the crown and fleurs-de-lis

the gracious arcade of the two story lobby in the King Edward Hotel, Toronto; this Beaux-Arts treasure is closest in style to classic Ritz Hotels as created by Cesar Ritz 100 years ago classical limestone detailing of the King Edward Hotel, Toronto
superb plaster mouldings, architectural details, and scagliola enrich the interior of the King Edward in a classic style comparable to what is seen in classic old Ritz-Carlton Hotels in cities like Boston and Montreal


Toronto is a city of over 5 million people, and it has many excellent cultural and recreational amenities. It has however lacked the accommodation that prestige, five star hotels offer. I was excited to learn that a Ritz-Carlton Hotel was opening in Toronto. I have always been intrigued by the story of Cesar Ritz and the creation of his deluxe hotels and their superb restaurants and cuisine. In preparation for my upcoming article about the Ritz-Carlton in Toronto, I will briefly examine what sets a classic Ritz Hotel apart from other hotels.

Cesar Ritz had particular requirements and directives with regards to service, amenities, decor, hygiene, and cuisine. He started humbly, born in the mountains of Switzerland, and through hard work, luck, fortuitous circumstances, perseverance, superb taste, and a knack for seeing excellence in others to help him, created hotels that became synonymous with luxury. The classic Ritz Hotel, unadulterated by ever expanding modern chains, still exists in Paris, London, and Madrid. The Ritz style is present in great hotels in cities around the globe. It can be seen in the Four Seasons in Hamburg, the Plaza Athenee in Paris, the Villa D'Este in Italy, the St. Regis in New York, and many others illustrious and historic hotels.

What makes a classic Ritz Hotel? It must have the finest chef, and for it to be Ritz there should be at least a fleeting reference to classical French haute cuisine in the menu. During the Belle epoch/Edwardian period, it became socially acceptable for the upper classes, especially women, to eat out, and Ritz cuisine had an outstanding reputation for excellence.

The classic Ritz Hotel has a distinct, prescribed style. Cesar Ritz himself chose the Louis XVI style (sometimes used in transition from Louis XV; there were also accents of Directoire), and every detail of his first Ritz Hotels, both interior decor and exterior architecture, down to light switches, table accoutrements, was a circa 1910 interpretation of this elegant style. The simple, light lines of neo Louis XVI were a refreshing change from the heavy, dark, ponderous furniture of Second Empire, Louis Phillipe, and the Victorian style.

Ritz's rooms were among the very first to include en suite bathrooms as well as new technology such as telephones. There were transoms over doors of high ceilinged rooms to allow microbe inhibiting ventilation in a time when there was anxiety with regard to tuberculosis and other infectious diseases. Upholstery and furnishing fabrics and curtains were washable, and much simpler than those of the Second Empire and Victorian styles just preceding. Cesar Ritz chose the very best chefs, waiters, someliers and service people, often persuading them to leave other establishments where they had already proven themselves. Essentially, a Ritz Hotel was one that was of French decor, impeccably clean, and with faultless 5 star cuisine and service. The trademark of the hotel was a heraldic lion and a crown, with connotations of history and nobility.

Being in a classic Ritz Hotel is somewhat like being in an impeccably run palace. It is a bit of an escapist fantasy in the 21st century. That this style has endured and still exists and is admired and respected over a century later, and in spite of great changes in the world, is a testament to the genius of Cesar Ritz.

all photos, unless specified, by SwF

A Valentine From Christian Dior

On a chilly February 12, 1947, Christian Dior presented a valentine to the world of fashion; his first fashion collection.

It was revolutionary. For many people it was a startling shock. Not only did Dior have talent, taste and creativity, he was a marketing wunderkind. He knew that a world in ruins and existing on rations dreamt of luxury, allure, prosperity, and romance. His collection, presented in the newly decorated neo Louis XVI salons on Avenue Montaigne, introduced extremely full skirts, exaggerated hips, and soft shoulders. These were impractical, dreamy dresses in contrast to the austerity of wartime clothes. Cupid's arrow had been dipped in the intoxicating essence of Dior's signature lily-of-the-valley, and stylish women clamoured to in some way update their clothing to approximate Christian Dior's creations.


The dramatic change of fashion caused tremendous controversy and attracted enviable attention and interest. The journalists were eager to write of this sensational "New Look," and it was covered in the most prominent newspapers and magazines of the day. In spite of the fact that the fashions were in many ways a step back from the liberating aspects that war and practicality had on the design of women's clothes, such as slacks, utilitarian pockets, modesty, durable fabrics, a lack of foundation garments, and coveralls to work in factories, the designs came to exert tremendous influence on what women wore after the war. They were an expression of optimistic joy that the terrors of conflict were over and once again, consideration could be given to less serious things.

Dior enjoyed immediate success, and became France's unofficial ambassador of fashion, rather than the government diplomat his father had wanted him to be. For the next decade, the ear of fashion was cocked in the direction from whence Dior's dictates came. Dior had become synonymous with Paris fashion at its most prestigious and chic. Many decades later, it's allure has not faded but has increased.

Sixty-three years after the presentation of the "New Look", it is interesting to observe how Christian Dior's impeccable aesthetics are echoed in fashions and tastes of today. The iconic grey and white store still exists at the same location in Paris, and satellite Dior mini boutiques grace the most fashionable shopping districts around the globe. For the past decade, grey and silver have been very popular colours for fashions and for consumer products. John Galliano creatively re-interprets the femininity and charm which the world craved after the war. A pale, almost Scandinavian neoclassical look similar to that of the salons of Dior can be seen in many very liveable, but nonetheless elegant rooms of residences in urban centres around the globe. The name itself is magical, and the DIOR monogram continues to be seen on the tapestry pocketbooks of stylish women. The dream lives on for those who look to Paris and the famous designer who saw women as beautiful flowers. And the image of flowers is something we all look forward to on a chilly early February day...refections of Dior in the emphemeral mirror of fashion.



Photographs and artwork copyright of Square with Flair