In the vibrant heart of Martigny, Switzerland, where the echoes of Roman history meet the industrious spirit of the 19th century, Hôtel Borsari now stands as an example of visionary design and thoughtful hospitality. What began as the ambitious project of first-time hotelier John Cretton, centered around the revitalization of a former agro-industrial site, has blossomed into “a miraculous piece of architecture” that is already energizing both guests and the local community. This unique analog retreat, nestled in a charming town that belies its central European location just south of Montreux, has officially opened its doors, inviting visitors to experience a distinctive blend of historical reverence and contemporary comfort.
Nestled at the foot of the majestic Swiss Alps, a mere 33 kilometers south of the famed Montreux, Martigny stands as a compelling crossroads. “It’s the lost place in the center of everything,” Cretton muses, recognizing the town’s unique position at the confluence of Italian, French, and Swiss influences. Once a vital artery of Roman trade, Martigny experienced a lull after the construction of a bypass, its historical significance seemingly fading. Yet, this perceived loss has paved the way for a compelling renaissance. Today, Martigny offers a precious commodity: respite from the relentless pace of modern life, boasting a sunny disposition, a rich culinary scene, esteemed vineyards, the world-class Fondation Gianadda art museum, and effortless access to iconic regional destinations like Chamonix-Mont Blanc and Zermatt’s Matterhorn. It was this compelling blend of history and potential that drew Cretton, whose father’s family hails from the Valais canton, back to his ancestral roots.
Hôtel Borsari proudly anchors LôDzè, a newly conceived ‘quartier’ envisioned as a catalyst for Martigny’s burgeoning energy. Positioned adjacent to the central plaza, La Place Centrale, the hotel extends a warm invitation to a diverse and increasingly dynamic community – many of whom, like Cretton himself, are returning to embrace the region’s profound culture and breathtaking landscape. The ethos here is one of authentic integration, where guests are encouraged to connect with the local rhythm and spirit.
The hotel’s design narrative is a compelling dialogue between eras. The robust forms and materials of 19th-century agro-industry seamlessly intertwine with the enduring principles of ancient Roman architecture, resulting in an aesthetic that feels simultaneously grounded in history and strikingly contemporary. Cretton’s deep-seated passion for history, cultivated through his studies in Latin, Greek, and Ancient History, permeates every facet of the hotel’s design. Martigny, once known as Forum Claudii Vallensium, was meticulously planned and constructed by Roman legionary architects, a legacy that subtly informs the hotel’s spatial organization and material choices.
The very genesis of Hôtel Borsari lies in the site’s past. Twelve years ago, Cretton discovered a vast underground labyrinth within the disused Les Caves Orsat winery. The imposing concrete structures that defined this subterranean world were the “borsaris” – innovative concrete tanks developed in the 19th century for wine storage. These pioneering forms have been reimagined as the inspiration for the hotel’s 42 rooms and 8 suites. “We’ve taken the idea of the wine tanks and brought them above ground,” explains Cretton. The rooms, crafted from raw and stained concrete, embody “the spirit of a tank, with rather more luxury.” Even the room categories, measured in hectoliters, serve as a playful homage to the site’s vinicultural heritage and the generous proportions of the interiors.
Comprising two buildings faced in handcrafted brick and textured lime render, the hotel embraces a central cobblestone courtyard – an idyllic setting for al fresco dining and convivial gatherings. This design not only echoes the communal spirit of Roman living but also provides a contemporary space for guests to unwind and connect.
The interiors of Hôtel Borsari are a testament to what Cretton describes as “a marriage of Swiss conservatism and English idiosyncrasy with a dollop of bloody-mindedness.” This unique vision is brought to life through a collaboration with designer Shaun Evans (of Drip and Drip). While Evans’ expertise lies in cross-disciplinary brand development, Cretton’s discerning eye, honed by a lifelong immersion in design, contributes to the hotel’s refreshingly unexpected aesthetic.
“People are very scared of color,” Cretton observes. “However designed most places might be, they still seem too often to drift towards a neutral palette.” Hôtel Borsari boldly defies this trend. Cretton’s affinity for deep, saturated hues manifests in crushed-grape reds, dense-forest greens, basalt blacks, earthy browns, and alpine-lake blues – a vibrant palette that reflects the fundamental elements of the surrounding region. The interplay of raw concrete walls and ceilings, warm larch-wood windows, rich oak parquet floors, and textured coir matting creates a tactile environment where a touch of exposed pipework prevents any sense of sterile perfection.
The carefully curated furniture, largely vintage pieces sourced from across Europe, reinforces a commitment to quality without undue formality, evoking an aesthetic reminiscent of simpler times. The significant presence of industrial designer Dieter Rams is no coincidence. “He was the ultimate analog designer,” Cretton asserts. Alongside Rams’s iconic Vitsoe shelving and 620 series seating, Swiss-made Elite beds, Artemide Tolomeo lamps, and Davide Groppi lighting have been meticulously selected for their inherent functionality and enduring beauty.
As an avid music enthusiast and collector of vintage audio equipment, Cretton takes particular pride in the 1962 vintage Dieter Rams-designed Braun Audio units featured in select rooms, meticulously hung on original brackets sourced from Germany. The hotel’s soundtrack, he explains, will be a “smoky” blend of late 1950s and early 1960s jazz, a touch of “corny French pop,” and a sprinkling of 1970s and 80s electronic music, perhaps featuring the likes of Serge Gainsbourg and Leonard Cohen.
The open-plan bathrooms, subtly separated from the sleeping areas by tactile wool flannel curtains, are another hallmark of the Drip and Drip design philosophy. Drawing inspiration from their 1970s childhoods, Cretton and Evans deliberately eschewed sterile white ceramic in favor of deep, resonant colors and textures. The resulting spaces are both stylish and functional, featuring modern fixtures juxtaposed with striking black and cream terrazzo tiles. Cretton also notes the fortunate advantage of Martigny’s exceptionally soft and pure water, sourced directly from the Marioty spring in the Mont Blanc massif, allowing for the confident use of color and black ironmongery without the worry of limescale.
The interiors stand as a gentle rebellion against what Cretton perceives as many hotels’ tendency to “embrace new technology in the worst possible ways.” Notably absent are screens. Instead, guests interact with the satisfying click of Bakelite switches by Swiss manufacturer Feller and the smooth swivel of Swiss NDW taps. Physical keys, albeit smart ones, replace impersonal keycards. “There’s so much digital,” Cretton laments. “That’s life now, but we don’t want to add to it.” Conceived for travelers seeking a meaningful departure from contemporary notions of luxury, Hôtel Borsari offers a genuine opportunity to disconnect. “We hark back to an era that doesn’t exist, but we’re far from pastiche.”
Beneath the hotel, the original borsaris have been ingeniously transformed into Les Bains Publics – Roman-inspired thermal baths crafted from a rich red concrete that subtly echoes the color of wine. Spanning an impressive 2,000 square meters, these baths offer a sanctuary of relaxation and a dedicated zone for digital detox, with a strict code of conduct and a limit of 30 guests at any given time. Here, the absence of Wi-Fi and phones fosters a profound sense of serenity within what Cretton describes as a “cathedral of bathing.”
At its core, Hôtel Borsari embodies a commitment to quality and simplicity. Cretton’s vision is clear: “We’re about good wines, good coffee, and things that are interesting.” The Alphonse coffee bar serves expertly brewed coffee from a beautifully designed Mavam machine, alongside specialty teas and fresh juices, its space flowing into both a public courtyard and a more secluded terrace. Adjacent, La Saucithèque wine bar celebrates the region’s deep-rooted passion for local wines, offering a curated selection from Valais, Europe’s highest wine region, complemented by artisanal charcuterie. For a more formal dining experience, Le Cercle restaurant, led by Mexican-Italian chef Matteo Salas (renowned for his creations at Āperi in San Miguel de Allende), draws inspiration from the culinary traditions of the region, as well as from the gastronomic landscapes of Lyon, Milan, and Zürich – each precisely 180 kilometers from Martigny. LôDzè, the wider ‘quartier’, thoughtfully celebrates the traditions of these three pivotal cities and their surrounding regions, alongside the unique character of its home town, the crossroads of Martigny.
In adhering to his design philosophy of “Analog, not digital. Everything you need and nothing more,” John Cretton has created a hotel that transcends fleeting trends in luxury, opting instead for an enduring sense of quality and authenticity. At Hôtel Borsari, there is no room for “good enough” or unquestioning adherence to convention. Instead, the focus is on thoughtful innovation and a distinct sense of individuality. The result is a hotel that feels simultaneously like a cherished relic from another time and yet utterly, compellingly current – a true testament to the enduring power of vision and place.