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Claridge's, in the heart of London's Mayfair, | 0:00:02 | 0:00:06 | |
is a five-star luxury hotel favoured by royalty and celebrities. | 0:00:06 | 0:00:11 | |
Here, things are done a little differently. | 0:00:12 | 0:00:16 | |
The million-pound chandelier has 800 unique pieces that have to be | 0:00:18 | 0:00:22 | |
individually hand-cleaned overnight. | 0:00:22 | 0:00:25 | |
It's not going to take much for it to go and to get one of these | 0:00:25 | 0:00:29 | |
replaced is probably going to be nigh on impossible. | 0:00:29 | 0:00:31 | |
In an age of austerity, some guests are prepared to pay the price of a | 0:00:31 | 0:00:35 | |
small family car to spend one night savouring its enduring glamour. | 0:00:35 | 0:00:42 | |
It's £6,900 per night. | 0:00:42 | 0:00:44 | |
For the first time in its long history, | 0:00:45 | 0:00:47 | |
Claridge's has allowed cameras behind its doors. | 0:00:47 | 0:00:50 | |
We've spent a year filming upstairs and downstairs following | 0:00:52 | 0:00:56 | |
the staff as they provide luxury to a discreet and exclusive clientele. | 0:00:56 | 0:01:01 | |
This is as good as it's going to get. | 0:01:02 | 0:01:04 | |
I mean, the next stop is Buckingham Palace. | 0:01:04 | 0:01:08 | |
How does Claridge's make you feel? | 0:01:08 | 0:01:10 | |
Well, that they're expecting me. | 0:01:10 | 0:01:12 | |
It's not a blind date. | 0:01:12 | 0:01:14 | |
Those who stay can demand impeccable attention to detail | 0:01:14 | 0:01:19 | |
and staff who go to enormous lengths to please. | 0:01:19 | 0:01:22 | |
No request is too outrageous. | 0:01:23 | 0:01:25 | |
We might think they're outrageous but we will deliver. | 0:01:25 | 0:01:29 | |
Good morning, Claridge's. How may I help you? | 0:01:46 | 0:01:50 | |
-You're taking the Eurostar, yes? -'Yes.' | 0:01:50 | 0:01:53 | |
That's going to be from St Pancras station, sir. | 0:01:53 | 0:01:55 | |
-'How many...pounds will it cost? Do you know?' -For the taxi? | 0:01:55 | 0:01:59 | |
Let me connect you with the Concierge. | 0:01:59 | 0:02:01 | |
-They do an accurate estimate for you. -'OK.' -Thanks so much. | 0:02:01 | 0:02:04 | |
Notice I didn't say, "I don't know." | 0:02:09 | 0:02:11 | |
-Do you ever not know? -Oh, yes, but that's... | 0:02:14 | 0:02:18 | |
I guess that's the trick. | 0:02:18 | 0:02:21 | |
You can't ever let the caller hear you sweat. | 0:02:21 | 0:02:24 | |
Never let them hear you sweat. "One moment, please," is great. | 0:02:24 | 0:02:28 | |
"Let me find out for you." | 0:02:28 | 0:02:31 | |
One of the most wonderful tools that we have here in Claridge's, | 0:02:31 | 0:02:35 | |
that not everyone really knows, is called Google, | 0:02:35 | 0:02:39 | |
and Google will answer everything. | 0:02:39 | 0:02:42 | |
So we seem like geniuses up here | 0:02:42 | 0:02:44 | |
but a lot of the time it's just typing into Google. | 0:02:44 | 0:02:47 | |
Good morning. Claridge's. How may I help you? | 0:02:47 | 0:02:50 | |
Doors have been open to guests | 0:02:53 | 0:02:55 | |
ever since Mrs Claridge established a hotel on the site in 1854. | 0:02:55 | 0:02:59 | |
Her portrait still watches over the comings and goings in the lobby. | 0:03:01 | 0:03:05 | |
Famed for its Art Deco interior, | 0:03:08 | 0:03:10 | |
the hotel has two miles of corridors, 400 staff | 0:03:10 | 0:03:15 | |
and serves over 1,000 lobsters and 60,000 bottles of champagne a year. | 0:03:15 | 0:03:20 | |
You've got one hour to get these down. | 0:03:22 | 0:03:25 | |
Where do I feel happiest? | 0:03:27 | 0:03:29 | |
I love our lobby | 0:03:32 | 0:03:34 | |
because the lobby embraces everything that Claridge's is about. | 0:03:34 | 0:03:39 | |
There is the glamour. There is the beauty of the building. | 0:03:39 | 0:03:42 | |
You can feel it when you walk through the revolving doors that | 0:03:42 | 0:03:45 | |
you're entering a very, very special place. | 0:03:45 | 0:03:48 | |
At the helm of this thoroughly British institution | 0:03:53 | 0:03:56 | |
is 41-year-old Thomas Kochs. | 0:03:56 | 0:03:59 | |
He's the youngest General Manager in the hotel's history. | 0:04:00 | 0:04:04 | |
We are waiting for Mr Basso and Mr Kominoto. | 0:04:06 | 0:04:10 | |
They're very, very regular visitors from New York. | 0:04:10 | 0:04:13 | |
They've been coming to the hotel for many years | 0:04:13 | 0:04:15 | |
and are really, really very dear guests of ours. | 0:04:15 | 0:04:18 | |
They spent a week in Paris, | 0:04:18 | 0:04:20 | |
so I'm sure they have lots of interesting stories to tell. | 0:04:20 | 0:04:23 | |
-Hello, how are you? -Good to be here. -Good to see you. Welcome back. | 0:04:26 | 0:04:29 | |
-Joanna. -Nice to see you. | 0:04:29 | 0:04:32 | |
-Gorgeous weather. -I know. We have the sun on order for you, of course. | 0:04:32 | 0:04:36 | |
Dennis Basso is an American designer. | 0:04:38 | 0:04:41 | |
After you, and then it's the second-floor Piano Suite today. | 0:04:43 | 0:04:47 | |
-Oh, my favourite. -Your favourite, good. | 0:04:47 | 0:04:50 | |
If I only knew how to play the piano. | 0:04:50 | 0:04:54 | |
The Piano Suite costs £5,100 a night | 0:04:54 | 0:04:58 | |
and comes with its own private butler on call 24 hours a day | 0:04:58 | 0:05:02 | |
to pander to every wish. | 0:05:02 | 0:05:05 | |
OK, you have a wonderful stay. Enjoy and see you later, OK? Take care. | 0:05:05 | 0:05:09 | |
What strikes you about this room when you come in? | 0:05:14 | 0:05:17 | |
You feel like you've stepped back a little bit. | 0:05:17 | 0:05:20 | |
Like you're in some fine English... mansion in the middle of London. | 0:05:20 | 0:05:26 | |
It's beautifully matched and beautifully done | 0:05:26 | 0:05:30 | |
but it's not forced. | 0:05:30 | 0:05:32 | |
You have all your modern conveniences, | 0:05:32 | 0:05:35 | |
so you're able to press a button and have the butler come, | 0:05:35 | 0:05:38 | |
reach the Concierge. | 0:05:38 | 0:05:39 | |
This is a perfect example. | 0:05:39 | 0:05:41 | |
This is clearly the most modern element, to have that instant | 0:05:41 | 0:05:46 | |
cup of espresso here, | 0:05:46 | 0:05:49 | |
but yet you're in this traditional | 0:05:49 | 0:05:51 | |
environment and I think that's what really has made this | 0:05:51 | 0:05:58 | |
something quite unique. | 0:05:58 | 0:05:59 | |
This is pretty special. I think the best of the people come. | 0:05:59 | 0:06:04 | |
The best, when I say that, | 0:06:04 | 0:06:05 | |
I mean the people who have travelled far and wide. | 0:06:05 | 0:06:11 | |
This is an exceptionally large salon. | 0:06:11 | 0:06:14 | |
Do you ever feel that luxury is a difficult thing to | 0:06:14 | 0:06:17 | |
celebrate in these times? | 0:06:17 | 0:06:19 | |
You know... | 0:06:19 | 0:06:21 | |
..there's always going to be... | 0:06:23 | 0:06:27 | |
luxury. | 0:06:27 | 0:06:29 | |
John Alves comes from the island of Madeira and is keeper of the | 0:06:31 | 0:06:36 | |
last man-operated lift in London, transporting treasured guests. | 0:06:36 | 0:06:41 | |
Most of the time I receive the guests. Very important guests. | 0:06:43 | 0:06:48 | |
They say this is the best lift in the world. | 0:06:48 | 0:06:51 | |
They've never seen one lift like this. | 0:06:51 | 0:06:54 | |
I'm very, very happy to have this clock, this very nice clock. | 0:06:54 | 0:07:00 | |
It is 115 years old. It's beautiful. | 0:07:00 | 0:07:04 | |
The Queen of Spain was here last week. | 0:07:05 | 0:07:09 | |
The Emperor of China has been a couple of months ago. | 0:07:11 | 0:07:15 | |
Tom Cruise, he's been in this part | 0:07:17 | 0:07:20 | |
because he likes to be here in front of this mirror. | 0:07:20 | 0:07:23 | |
Madonna liked to sit over in this place over here. | 0:07:23 | 0:07:27 | |
And the other people have really enjoyed this lift. | 0:07:28 | 0:07:32 | |
It's a delicate business addressing VIP guests. | 0:07:35 | 0:07:38 | |
Every morning, Thomas sits down to compose the welcome cards. | 0:07:40 | 0:07:43 | |
Card signing sessions with Kristy are always a bit different. | 0:07:46 | 0:07:50 | |
-How about let's start with... -This weekend, no? -..this weekend. | 0:07:53 | 0:07:57 | |
-Tom Hanks. -Tom Hanks. Small card? Big card? -Big card. -OK. | 0:07:57 | 0:08:01 | |
Who gets a big card and who gets the little card? | 0:08:05 | 0:08:08 | |
-Ooh! -That's Kristy's discretion. | 0:08:11 | 0:08:13 | |
-OK, then our lovely band members. -Members for which band? -U2. | 0:08:16 | 0:08:22 | |
-U2, OK, good. -So they're here to attend the Q Awards. | 0:08:22 | 0:08:25 | |
I'm not exactly sure what that is, to be perfectly honest. | 0:08:25 | 0:08:29 | |
THEY LAUGH | 0:08:29 | 0:08:31 | |
So I'll say, "Have a wonderful stay. Enjoy the Q Awards." | 0:08:31 | 0:08:36 | |
-OK. This is... -Edge. -Hmm-mm. | 0:08:36 | 0:08:40 | |
We never know. We always have the same predicament. | 0:08:45 | 0:08:48 | |
Do you write, "Dear Edge?" | 0:08:48 | 0:08:50 | |
-It's um... -I forgot his real name now. | 0:08:52 | 0:08:56 | |
Isn't he known as THE Edge? | 0:08:56 | 0:08:59 | |
No idea, but you can't write, "Dear Mr The Edge." | 0:08:59 | 0:09:01 | |
Someone needs to be the guardian of all of this, you know. | 0:09:08 | 0:09:11 | |
Someone needs to have a little bit of a helicopter view. | 0:09:11 | 0:09:15 | |
You're like a conductor in an orchestra. | 0:09:15 | 0:09:17 | |
'I believe you need to really wholeheartedly want to do this.' | 0:09:20 | 0:09:26 | |
How are you? Good to see you. | 0:09:26 | 0:09:28 | |
Hello. | 0:09:30 | 0:09:31 | |
Do you find it amusing that everyone says it so British | 0:09:31 | 0:09:35 | |
and you're German? | 0:09:35 | 0:09:37 | |
Yes, I do find it amusing at times, | 0:09:37 | 0:09:40 | |
but, you know, it's good to see things a little humorous as well. | 0:09:40 | 0:09:47 | |
That's why I don't find it challenging to represent | 0:09:47 | 0:09:50 | |
a British brand, but, yeah, Claridge's is the quintessentially | 0:09:50 | 0:09:55 | |
English hotel in London and I'm German and I can't change that. | 0:09:55 | 0:09:59 | |
Let's just remind everybody, if you have a broken lamp, please | 0:10:06 | 0:10:11 | |
remove the shade, label the shade and leave the shade in the office. | 0:10:11 | 0:10:15 | |
I found two shades downstairs in technical services which were | 0:10:15 | 0:10:18 | |
just on a shelf. | 0:10:18 | 0:10:20 | |
Deputy head of housekeeping Anne Barnes | 0:10:20 | 0:10:22 | |
is one of the few English members of staff. | 0:10:22 | 0:10:25 | |
She executes her job with obsessive attention to detail. | 0:10:25 | 0:10:29 | |
You can smell the dust. | 0:10:29 | 0:10:33 | |
-What do you notice in here, Anne? -The flowers. | 0:10:33 | 0:10:36 | |
The flowers are dead. | 0:10:36 | 0:10:38 | |
118 bathroom, there's a golf-ball light bulb missing. | 0:10:40 | 0:10:44 | |
Why this is missing, I do not know. | 0:10:44 | 0:10:47 | |
Simon, the other day, | 0:10:47 | 0:10:48 | |
I reported that the TVs were showing one hour ahead. | 0:10:48 | 0:10:51 | |
What's happening? | 0:10:51 | 0:10:53 | |
Alvin, when you clean the chairs with your damp cloth, | 0:10:53 | 0:10:56 | |
can you make sure you do the legs? | 0:10:56 | 0:10:58 | |
Can I show you? Look here, can you see the dust? | 0:10:58 | 0:11:00 | |
There's a very bad stain on the carpet right by the valet storage. | 0:11:00 | 0:11:05 | |
OK, can you please make sure that you highlight that? | 0:11:05 | 0:11:09 | |
-Please don't put that up in here. -Not on you. | 0:11:09 | 0:11:11 | |
The guests have just arrived. | 0:11:14 | 0:11:16 | |
-Housekeeper. -Housekeeper. -It's noisy. | 0:11:22 | 0:11:26 | |
I'm always checking inside the bag now, | 0:11:27 | 0:11:32 | |
because we had a case that once a guest chucked out | 0:11:32 | 0:11:35 | |
and he left a lot of money in the bag which was folded this way, flat. | 0:11:35 | 0:11:40 | |
And then the next guest who checked into the room found the money. | 0:11:40 | 0:11:45 | |
-How much was it? -It was a lot. It was a couple of thousand pounds, yeah. | 0:11:45 | 0:11:50 | |
They were all flat and nicely folded. | 0:11:50 | 0:11:52 | |
So that's why I'm always checking inside now, just in case. | 0:11:54 | 0:11:58 | |
The girls find a lot of money, they find a lot of money in the room. | 0:11:58 | 0:12:03 | |
Sometimes it's locked in a safe | 0:12:03 | 0:12:05 | |
and, if the guest is not asking for it, | 0:12:05 | 0:12:09 | |
I think it's for six months. Ann? | 0:12:09 | 0:12:12 | |
-Yeah. -The girls will get it. | 0:12:12 | 0:12:14 | |
Yeah, it can be a lot of money. | 0:12:14 | 0:12:16 | |
-I think it depends on the value. -On the value? -Yeah. | 0:12:16 | 0:12:19 | |
-It might be longer. -One of our room attendants, she just got 2,000 | 0:12:19 | 0:12:24 | |
which was left locked in a safe. | 0:12:24 | 0:12:26 | |
Yeah... | 0:12:26 | 0:12:28 | |
Ann, are you like this at home? | 0:12:37 | 0:12:39 | |
No! I've a dog. | 0:12:39 | 0:12:41 | |
No, not at all. | 0:12:41 | 0:12:42 | |
Not at all. | 0:12:42 | 0:12:44 | |
Not every dog is left behind. | 0:12:48 | 0:12:50 | |
Sammy the spaniel has stayed over 20 times at the hotel. | 0:12:50 | 0:12:54 | |
The minute he gets out of the car, he walks straight up to the door | 0:12:56 | 0:12:59 | |
and puts his nose up and says, "This is it." | 0:12:59 | 0:13:02 | |
Sometimes, I drop him and the luggage off and they check him into the room. | 0:13:03 | 0:13:07 | |
They always ask, "Is Sammy coming, too?" | 0:13:10 | 0:13:13 | |
Then they put out a little towel for him and the dog bowl. | 0:13:13 | 0:13:17 | |
They then get his bed out and things like that. | 0:13:17 | 0:13:22 | |
Sometimes, it takes a long time to check in and check out | 0:13:22 | 0:13:25 | |
because everybody is so busy talking to Sammy. | 0:13:25 | 0:13:28 | |
At check-out, Sammy's toy, food and water bowl | 0:13:30 | 0:13:33 | |
are put into storage, awaiting his next visit. | 0:13:33 | 0:13:36 | |
Before we came to Claridge's | 0:13:38 | 0:13:40 | |
Sammy used to get depressed staying in London. One night was enough. | 0:13:40 | 0:13:43 | |
I mean, they have a depression, you could always tell. | 0:13:43 | 0:13:46 | |
The head would droop and he'd just say, "Get me out of here." | 0:13:46 | 0:13:48 | |
Ever since we've been staying at Claridge's, | 0:13:48 | 0:13:50 | |
he's says, "I'm very happy, thank you very much, | 0:13:50 | 0:13:53 | |
"and I'm quite happy to stay another night." | 0:13:53 | 0:13:55 | |
-Hi, Stephen. You're very kindly going to take him for a walk. -Of course. | 0:14:01 | 0:14:04 | |
-And I'm afraid I'm going to give you... -Certainly. | 0:14:04 | 0:14:09 | |
So where's Mummy? Where's Mummy left you? | 0:14:09 | 0:14:12 | |
What you found? | 0:14:13 | 0:14:15 | |
What you found, Sam? Come on. | 0:14:18 | 0:14:20 | |
What you found? | 0:14:20 | 0:14:21 | |
And do you ever say no to a guest? | 0:14:21 | 0:14:24 | |
I never say no to a guest. | 0:14:24 | 0:14:26 | |
I cannot say no to a guest. | 0:14:26 | 0:14:28 | |
I will do everything in my power | 0:14:28 | 0:14:30 | |
to do whatever it is they want me to do. | 0:14:30 | 0:14:33 | |
So let's just briefly talk about what we can do today | 0:14:33 | 0:14:35 | |
on the third-floor rooms. Yeah? | 0:14:35 | 0:14:38 | |
318, 316, 321... | 0:14:38 | 0:14:41 | |
Claridge's has 83,000 guests a year. | 0:14:41 | 0:14:45 | |
As well as those booking for a night, or two, | 0:14:45 | 0:14:47 | |
the hotel is used to dealing with people who demand a whole lot more. | 0:14:47 | 0:14:51 | |
I'm going to take the Bibles out. | 0:14:51 | 0:14:53 | |
In three days' time, they're expecting the arrival | 0:14:53 | 0:14:55 | |
of foreign royalty, who want to occupy the entire third floor. | 0:14:55 | 0:15:00 | |
They're all paying a lot of money, it's a very high rate, | 0:15:04 | 0:15:07 | |
so we need extra care with them. Yeah? | 0:15:07 | 0:15:11 | |
Hi, Chris. | 0:15:11 | 0:15:12 | |
The arrival time is still about six o'clock. | 0:15:12 | 0:15:14 | |
I presume security will be on-site, probably close to noon. | 0:15:14 | 0:15:18 | |
Basically, we just make sure we take all the alcoholic products out. | 0:15:20 | 0:15:24 | |
From us, everyone knows how important this group is, | 0:15:25 | 0:15:27 | |
how perfectly it needs to go. | 0:15:27 | 0:15:29 | |
The whole floor will be taken over by 27 female guests | 0:15:31 | 0:15:35 | |
with their women-only security guards. | 0:15:35 | 0:15:38 | |
No men will be allowed to set foot on the floor. | 0:15:38 | 0:15:42 | |
We have to...line all these glass doors, so people can't see in. | 0:15:42 | 0:15:49 | |
We're making very, very soft bed for the Princess. | 0:15:52 | 0:15:56 | |
She wants very, very soft bed. We are putting the extra duvets for her. | 0:15:56 | 0:16:03 | |
-How many duvets? -Four. | 0:16:03 | 0:16:05 | |
Yes, she want very, very soft. | 0:16:05 | 0:16:09 | |
There are 40 rooms on the third floor. | 0:16:13 | 0:16:15 | |
Ten have to be cleared of all furniture to create | 0:16:15 | 0:16:18 | |
space for private dressing rooms and dining rooms. | 0:16:18 | 0:16:22 | |
All these rooms will be connected. | 0:16:22 | 0:16:24 | |
We will be opening the connection doors throughout the whole floor. | 0:16:24 | 0:16:28 | |
So the guests will be able to go around in one big circle. | 0:16:28 | 0:16:31 | |
They can do that, yeah. | 0:16:31 | 0:16:32 | |
The other bedrooms will be turned into kitchens. | 0:16:34 | 0:16:37 | |
We completely cover the carpet. | 0:16:38 | 0:16:40 | |
They will lay banqueting tables all the way around the room, and fridges, | 0:16:40 | 0:16:46 | |
and then put serving dishes on top and things like that, hot plates. | 0:16:46 | 0:16:50 | |
Two entire suites will be used just for storing shopping bags. | 0:16:53 | 0:16:57 | |
Presentation must be perfect. | 0:17:00 | 0:17:02 | |
All scuffs are touched up, dripping taps fixed... | 0:17:02 | 0:17:06 | |
It's just actually running here from the tap. | 0:17:06 | 0:17:10 | |
..and one bath is re-enamelled. | 0:17:10 | 0:17:12 | |
Basically, what we've done, this has been a chipped bath, | 0:17:12 | 0:17:15 | |
-taken all the chrome off. -Yeah. | 0:17:15 | 0:17:18 | |
And then sprayed it, now it's being heat lamped, so being hardened. | 0:17:18 | 0:17:22 | |
Rather than replacing the bath, we're repairing all the chips. | 0:17:22 | 0:17:26 | |
However, the guests have yet to confirm their booking. | 0:17:27 | 0:17:30 | |
-They've already delayed a day. -They have, yes. | 0:17:32 | 0:17:35 | |
Is there still a chance they could cancel? Does that happen? | 0:17:35 | 0:17:39 | |
Possibly. Travel plans change. | 0:17:39 | 0:17:42 | |
Is it London, is it Paris? | 0:17:42 | 0:17:45 | |
Will it be the US, or the Alps, maybe? | 0:17:45 | 0:17:49 | |
They might go skiing, they might go to a skiing resort. | 0:17:49 | 0:17:53 | |
You know, the schedules of people's lives are very demanding | 0:17:53 | 0:17:58 | |
and very busy. We have this with a lot of our top, top guests. | 0:17:58 | 0:18:01 | |
They probably have every intention to stay here on Wednesday | 0:18:01 | 0:18:04 | |
and then the day changes, demands change, different plane, | 0:18:04 | 0:18:08 | |
different demands for a different city, and they arrive | 0:18:08 | 0:18:12 | |
on Thursday or a week later. We deal with that all the time. | 0:18:12 | 0:18:15 | |
So, for one room, that's slightly different | 0:18:15 | 0:18:18 | |
in comparison to a whole floor. | 0:18:18 | 0:18:20 | |
It's taken two days to transform the third floor into a temporary | 0:18:25 | 0:18:29 | |
palace, but still the booking has not been confirmed. | 0:18:29 | 0:18:33 | |
Could the guests still cancel? | 0:18:35 | 0:18:38 | |
Yeah. They could. Mm-hm. | 0:18:38 | 0:18:41 | |
-After all this work? -Yeah. | 0:18:41 | 0:18:43 | |
Or they could delay their visit. | 0:18:43 | 0:18:45 | |
-How would you feel if... -If...? | 0:18:50 | 0:18:54 | |
They cancelled? | 0:18:54 | 0:18:55 | |
Well, obviously...very upset. | 0:18:55 | 0:18:59 | |
The royal family finally arrives, two days behind schedule. | 0:19:03 | 0:19:07 | |
So, have you met Her Highness? | 0:19:09 | 0:19:12 | |
Her Highness I haven't met, no. | 0:19:12 | 0:19:16 | |
I haven't been to her room, I haven't shaken her hand, | 0:19:17 | 0:19:20 | |
I haven't spoken to her or had an exchange. | 0:19:20 | 0:19:22 | |
So it's really not unusual for... for me not to see certain guests. | 0:19:22 | 0:19:29 | |
One wouldn't think, would one? | 0:19:29 | 0:19:31 | |
With more than 11,000 five-star luxury rooms in London, | 0:19:33 | 0:19:36 | |
Claridge's faces stiff competition. | 0:19:36 | 0:19:40 | |
Thomas knows he needs to keep attracting | 0:19:40 | 0:19:43 | |
the likes of the guests currently occupying the third floor. | 0:19:43 | 0:19:47 | |
How can people understand how big a business Claridge's is? | 0:19:47 | 0:19:52 | |
It is all relative. | 0:19:52 | 0:19:54 | |
There are companies and corporations in this world | 0:19:54 | 0:19:57 | |
that probably turn over more revenue with 420 people than others | 0:19:57 | 0:20:01 | |
that turn over less. Claridge's is a £58 million business, | 0:20:01 | 0:20:07 | |
-in turnover terms. -A year? -That is a year. | 0:20:07 | 0:20:10 | |
Is there pressure on you to increase the revenue every year? | 0:20:10 | 0:20:15 | |
Yeah, yet again you can call it pressure or... | 0:20:16 | 0:20:19 | |
Look, I'm probably the one to ask for more. | 0:20:19 | 0:20:23 | |
So, it's what you do to yourself. | 0:20:23 | 0:20:25 | |
It wouldn't be a healthy budget if you said, | 0:20:25 | 0:20:29 | |
"Yeah, it was amazing what we did last year, let's just do the same." | 0:20:29 | 0:20:33 | |
You would always want to do a little bit better and a little bit more. | 0:20:33 | 0:20:37 | |
More than a third of Claridge's guests are from the United States | 0:20:42 | 0:20:46 | |
and a couple of times a year, Thomas travels to New York to meet | 0:20:46 | 0:20:50 | |
the most influential American travel agent. | 0:20:50 | 0:20:52 | |
It is really very, very important that the general managers go | 0:20:57 | 0:21:00 | |
once or twice a year, themselves. | 0:21:00 | 0:21:03 | |
There's nothing more valuable than personal contact | 0:21:03 | 0:21:06 | |
and that's really why I'm here. | 0:21:06 | 0:21:08 | |
Will the general managers of other hotels in London, | 0:21:08 | 0:21:11 | |
like the Ritz, the Dorchester, the Savoy, come out to New York, too? | 0:21:11 | 0:21:16 | |
I'm pretty certain they do. | 0:21:16 | 0:21:19 | |
First stop, Fischer Travel. | 0:21:19 | 0:21:21 | |
Father and daughter Bill and Stacey | 0:21:21 | 0:21:24 | |
craft ultra-luxury experiences for the super-rich. | 0:21:24 | 0:21:28 | |
They can't be found on the Internet | 0:21:28 | 0:21:30 | |
and you can only get their number by paying a joining fee. | 0:21:30 | 0:21:33 | |
We charge 100,000 to become a client | 0:21:34 | 0:21:38 | |
and 25,000 a year to stay on as a client. | 0:21:38 | 0:21:41 | |
And that's before you've even made a phone call on their behalf? | 0:21:41 | 0:21:44 | |
Well, we'll make one call. | 0:21:44 | 0:21:48 | |
There's a fishing story you'll like. A woman liked to fish | 0:21:48 | 0:21:52 | |
and she wanted her husband to fish, too, and they were in Africa. | 0:21:52 | 0:21:56 | |
So, we wanted... She said, "I want to make sure he catches a fish." | 0:21:56 | 0:22:02 | |
We had to hire a frogman to go in the water to put a fish on the hook. | 0:22:02 | 0:22:08 | |
He caught a fish but we still had to pay for the frogman. | 0:22:08 | 0:22:12 | |
-You can have a seat right there. -All right, OK, perfect. | 0:22:12 | 0:22:15 | |
-Welcome back to New York. -Thank you very much, always good to be here. | 0:22:18 | 0:22:21 | |
-The hotel is going well? -Yeah, the hotel is doing well. | 0:22:21 | 0:22:24 | |
London is like New York, I mean, New York is doing terrific. | 0:22:24 | 0:22:28 | |
Our forecast looks very, very positive but then, of course, | 0:22:28 | 0:22:31 | |
when you read the press and when you see what's going on... | 0:22:31 | 0:22:33 | |
The press is always negative. | 0:22:33 | 0:22:35 | |
The reality doesn't quite reflect our business. | 0:22:35 | 0:22:38 | |
The press doesn't really know these type of clients. | 0:22:38 | 0:22:42 | |
-Exactly! -It's true. -Yeah, that's true. | 0:22:42 | 0:22:45 | |
You know, the press, if they stay in a room, they're spending | 0:22:45 | 0:22:47 | |
£100, £150 a night. | 0:22:47 | 0:22:50 | |
They're not spending 1,000, 2,000, 5,000 or whatever. | 0:22:50 | 0:22:56 | |
That's the difference. They're just...it's out of their realm. | 0:22:56 | 0:23:00 | |
-Does Claridge's not suit certain people? -Sure. | 0:23:03 | 0:23:07 | |
It's not for everybody. | 0:23:07 | 0:23:10 | |
You know, they don't maybe like the Art Deco style, | 0:23:10 | 0:23:12 | |
they want something a little more contemporary, a little more modern. | 0:23:12 | 0:23:16 | |
-It's not for everybody. -Maybe something smaller. -Yeah. | 0:23:16 | 0:23:19 | |
More boutique. | 0:23:19 | 0:23:21 | |
Have you ever had clients requesting rooms redecorated for them | 0:23:21 | 0:23:26 | |
-at Claridge's? -Oh, yeah. | 0:23:26 | 0:23:27 | |
-And is that done? -Yeah, they need... they don't like the colour scheme | 0:23:29 | 0:23:32 | |
of the room or they don't like... | 0:23:32 | 0:23:35 | |
So, they'll go in and do it. | 0:23:35 | 0:23:37 | |
Of course, charge them for it and when they leave, | 0:23:37 | 0:23:41 | |
put it back to what it is. | 0:23:41 | 0:23:43 | |
-And they don't mind paying? -Not if they're asking for it. | 0:23:43 | 0:23:47 | |
Andrew... | 0:23:50 | 0:23:54 | |
Yeah, I can hardly hear you, I must say. | 0:23:54 | 0:23:57 | |
Thomas is never off duty. | 0:23:57 | 0:24:00 | |
He knows what's going on in Claridge's | 0:24:00 | 0:24:02 | |
even when he's on the other side of the Atlantic. | 0:24:02 | 0:24:05 | |
Did anything amusing happen in the hotel last night? | 0:24:05 | 0:24:09 | |
It was a pretty straightforward, normal night. | 0:24:09 | 0:24:11 | |
Shame... | 0:24:11 | 0:24:13 | |
No, I just think sometimes you must have things that happen that | 0:24:15 | 0:24:18 | |
just make you smile, or make you groan | 0:24:18 | 0:24:21 | |
but they're very human, like the overrunning of the baths. | 0:24:21 | 0:24:25 | |
Yeah, that happens a lot. | 0:24:25 | 0:24:26 | |
-Yeah, how often do baths get overrun there? -Too often. | 0:24:26 | 0:24:30 | |
Of course, you know the way houses are built. It all drips through, | 0:24:32 | 0:24:35 | |
so you have a leak in the room below. | 0:24:35 | 0:24:37 | |
-Oh! -I know. | 0:24:37 | 0:24:40 | |
So when that happens, you just think, "Here we go again." | 0:24:40 | 0:24:43 | |
Here we go again, yes. It's a shame, it's very wasteful. | 0:24:43 | 0:24:47 | |
Often new carpets, ceilings have to be painted, made good. | 0:24:47 | 0:24:50 | |
-Do rock stars trash their rooms? -I knew that this would come up! | 0:24:54 | 0:24:58 | |
Exactly, guitars breaking, glass tables being smashed... | 0:24:59 | 0:25:04 | |
Peanuts all over. | 0:25:04 | 0:25:07 | |
No, they're very well behaved, OUR rock stars. | 0:25:07 | 0:25:10 | |
Claridge's rock stars are good rock stars. | 0:25:12 | 0:25:14 | |
Next stop, Barry Liben. | 0:25:17 | 0:25:20 | |
He booked 500 nights for clients in Claridge's last year. | 0:25:20 | 0:25:24 | |
Thomas is determined to improve on that. | 0:25:24 | 0:25:27 | |
Nice to meet you, a pleasure. Absolutely delighted, thank you. | 0:25:27 | 0:25:31 | |
Today, I think, I checked two hours ago, | 0:25:31 | 0:25:33 | |
the market was collapsing again, unfortunately. | 0:25:33 | 0:25:36 | |
When I looked, it was about 350 points down, | 0:25:36 | 0:25:39 | |
based on some stuff in Europe. | 0:25:39 | 0:25:42 | |
So, you know, people are concerned. | 0:25:42 | 0:25:45 | |
Do you have new supply coming into the market? | 0:25:45 | 0:25:47 | |
If I was a London hotel, yeah, | 0:25:47 | 0:25:48 | |
I've been nervous about all your new competition. | 0:25:48 | 0:25:51 | |
-I mean, there's a lot of it right now. -There is a lot of it, yes. | 0:25:51 | 0:25:55 | |
The Savoy, the Corinthian, the Four Seasons... | 0:25:55 | 0:25:57 | |
Boy, there's a lot of new beautiful rooms in there. | 0:25:57 | 0:26:00 | |
Absolutely, yeah, yeah, absolutely. | 0:26:00 | 0:26:02 | |
I think someone who likes your hotel will stay with it. | 0:26:02 | 0:26:05 | |
I don't see why they wouldn't. You have a great product. | 0:26:05 | 0:26:08 | |
But everybody likes to see the new kid on the block | 0:26:08 | 0:26:10 | |
-when they first open. -Mmm. | 0:26:10 | 0:26:12 | |
But, you see, we always have to be cautious. | 0:26:12 | 0:26:14 | |
-You know, you have to stay mainly... -You can't rest on your laurels. | 0:26:14 | 0:26:18 | |
-No, absolutely not. -You can't rest on your laurels | 0:26:18 | 0:26:20 | |
but you have a great name, you have a great reputation | 0:26:20 | 0:26:23 | |
and you have great service levels. | 0:26:23 | 0:26:25 | |
How much is a luxury room worth? | 0:26:25 | 0:26:28 | |
At what point does it become ludicrous to spend that money? | 0:26:28 | 0:26:31 | |
That's really an individual thing. | 0:26:33 | 0:26:35 | |
One man's ludicrous is another man's normal, | 0:26:35 | 0:26:38 | |
so that's really an individual thing. You know, erm... | 0:26:38 | 0:26:41 | |
There are certain suites in the world that go for... | 0:26:41 | 0:26:45 | |
You know, I might pay 2,000 for a suite | 0:26:45 | 0:26:49 | |
and another person think that ludicrous | 0:26:49 | 0:26:53 | |
and another person will pay 15,000 a night for a suite | 0:26:53 | 0:26:57 | |
and I think that insane. | 0:26:57 | 0:26:58 | |
I know what I paid for one night in the best villa | 0:26:58 | 0:27:02 | |
in Terre Blanche in Provence at the Four Seasons, | 0:27:02 | 0:27:05 | |
that other people would have a heart attack. | 0:27:05 | 0:27:08 | |
-May I ask what that was? -13,000. | 0:27:08 | 0:27:11 | |
In Thomas's absence, his deputy, Michael Bonsor, | 0:27:15 | 0:27:19 | |
is responsible for the day-to-day running of the hotel. | 0:27:19 | 0:27:22 | |
Continuously through the day... | 0:27:22 | 0:27:24 | |
We're walking outside of the building, but twice a day | 0:27:24 | 0:27:27 | |
our duty managers come out and specifically walk the area, | 0:27:27 | 0:27:32 | |
and that's more for cleanliness | 0:27:32 | 0:27:35 | |
and just to make sure everything is shipshape and in order. | 0:27:35 | 0:27:39 | |
Oh, hi, Charlie, it's Michael. | 0:27:40 | 0:27:42 | |
Outside Claridge's bar entrance, there's footprints | 0:27:42 | 0:27:46 | |
on the black granite. | 0:27:46 | 0:27:48 | |
Can you have housekeeping or back of house come up and wipe it down? | 0:27:48 | 0:27:53 | |
OK, great, thank you. | 0:27:53 | 0:27:55 | |
This whole area gets knocked a lot. | 0:27:55 | 0:27:57 | |
I think we're probably painting this every two or three days | 0:27:57 | 0:27:59 | |
and it does need a bit more of a touch-up. | 0:27:59 | 0:28:02 | |
That can literally be like that today | 0:28:02 | 0:28:06 | |
but three days ago, it wasn't there. | 0:28:06 | 0:28:09 | |
-The cabling needs attention. -Yeah, this cabling is not good. | 0:28:11 | 0:28:15 | |
Unless someone's working on it. | 0:28:15 | 0:28:18 | |
Why don't we bring one of those to this side? | 0:28:21 | 0:28:25 | |
I think we need two... | 0:28:26 | 0:28:28 | |
-No, you need a couple of people. -Yeah, yeah, yeah. | 0:28:28 | 0:28:32 | |
-You need a few people to move that. -Yeah, yeah. | 0:28:32 | 0:28:35 | |
-Just put one there... -One in there. | 0:28:35 | 0:28:39 | |
-Yeah. -Do you want to... -Yeah, I'll follow that up. | 0:28:39 | 0:28:42 | |
This is a view you can't put a price on. Or, actually, you can. | 0:28:49 | 0:28:52 | |
We need to know the price, don't you think? | 0:28:52 | 0:28:56 | |
Claridge's likes to flirt with its fashion | 0:28:56 | 0:28:58 | |
and cultural connections and now has an artist in residence, | 0:28:58 | 0:29:02 | |
who stays 52 nights a year, in exchange for drawings. | 0:29:02 | 0:29:06 | |
You've got all of London, | 0:29:06 | 0:29:08 | |
all these things, you just think of all the lives going on. | 0:29:08 | 0:29:11 | |
All the people working... | 0:29:11 | 0:29:15 | |
It's amazing. | 0:29:15 | 0:29:17 | |
What do you think they're thinking about you? | 0:29:17 | 0:29:19 | |
I hope they're thinking, "God, he's in the Brook Penthouse. | 0:29:19 | 0:29:23 | |
"He must have done something good. He must have done well." | 0:29:23 | 0:29:27 | |
Artists doing well, that's what I want them to think. | 0:29:27 | 0:29:30 | |
My title is fashion artist in residence | 0:29:32 | 0:29:35 | |
and it's the "in residence" we love. That's where... | 0:29:35 | 0:29:38 | |
That's the bit I keep repeating. | 0:29:38 | 0:29:40 | |
I'm going to be recording, | 0:29:40 | 0:29:42 | |
in drawing, some of Claridge's favourite guests. | 0:29:42 | 0:29:45 | |
Some of them are very famous, some of them unknown. | 0:29:45 | 0:29:48 | |
There is an underlying thing about style within | 0:29:48 | 0:29:51 | |
the group of people that we're going to draw. | 0:29:51 | 0:29:54 | |
Internationally famous model Carmen Dell'Orefice is 81. | 0:29:55 | 0:29:59 | |
And she's been staying at Claridge's since the early '60s. | 0:30:01 | 0:30:05 | |
The one wonderful thing that is still operative is that breakfast | 0:30:05 | 0:30:10 | |
comes with the most discreet people, | 0:30:10 | 0:30:14 | |
who see me in my curlers, | 0:30:14 | 0:30:18 | |
my flannel nightgown in the morning, you know. | 0:30:18 | 0:30:21 | |
And they never look at me. And it is always, | 0:30:21 | 0:30:24 | |
"Madam, may I pour this for you?" | 0:30:24 | 0:30:26 | |
And it is a real treat to have somebody pour something for me. | 0:30:26 | 0:30:31 | |
'She doesn't get how great she is, thank God, | 0:30:31 | 0:30:35 | |
'because she could be a monster. | 0:30:35 | 0:30:36 | |
'And that's 66 years in an industry that hates 30-year-olds. | 0:30:36 | 0:30:40 | |
'So it's no wonder she's good at it. | 0:30:40 | 0:30:42 | |
'As I always say, she damn well ought to be. | 0:30:42 | 0:30:44 | |
'Because 66 years of practice.' | 0:30:44 | 0:30:47 | |
What's your favourite room? | 0:30:47 | 0:30:49 | |
I like 114. | 0:30:49 | 0:30:50 | |
I like a lot of them, actually, but 114 I am very keen on. | 0:30:53 | 0:30:56 | |
It's a great big suite on the first floor, | 0:30:56 | 0:30:59 | |
where you get a butler or two. | 0:30:59 | 0:31:00 | |
You only have to ring the bell and two people come. | 0:31:00 | 0:31:02 | |
It took me ages to ring the bell. I didn't dare, I thought, | 0:31:02 | 0:31:05 | |
I'm not a person who has a butler, | 0:31:05 | 0:31:07 | |
I'm not a person who rings for a butler. | 0:31:07 | 0:31:09 | |
So I would ring down to reception and ask them what to do, | 0:31:09 | 0:31:12 | |
rather than ring the butler. | 0:31:12 | 0:31:15 | |
But they're great. They're great at their job. | 0:31:15 | 0:31:17 | |
Have you got used to having a butler? | 0:31:17 | 0:31:19 | |
I don't want to get used to it. It's dangerous. | 0:31:19 | 0:31:22 | |
Cos you do have to go home, eventually. | 0:31:22 | 0:31:24 | |
I love people, I love serving people, | 0:31:26 | 0:31:29 | |
and...a great challenge, and I like challenges. | 0:31:29 | 0:31:33 | |
I have a bad day now and then, like everyone else, but I think | 0:31:33 | 0:31:37 | |
you know, if you are dealing with people, you have to like people. | 0:31:37 | 0:31:41 | |
It's no good coming and saying, oh... | 0:31:41 | 0:31:42 | |
You have to be willing to serve, you know. | 0:31:42 | 0:31:46 | |
And I like serving people. | 0:31:46 | 0:31:47 | |
Michael Lynch first came to work at the hotel in 1976, | 0:31:50 | 0:31:54 | |
when he was 16 years old. | 0:31:54 | 0:31:57 | |
I grew up in a little village in Limerick. | 0:31:57 | 0:31:59 | |
Limerick is in the South West of Ireland. About 1,000 people | 0:31:59 | 0:32:02 | |
and you knew everybody. | 0:32:02 | 0:32:04 | |
And what is special about this suite? | 0:32:04 | 0:32:06 | |
It is one of my favourite suites. | 0:32:08 | 0:32:09 | |
It is very, very nice and it is very peaceful, very quiet. | 0:32:09 | 0:32:14 | |
And when we have royalty in the hotel, | 0:32:14 | 0:32:16 | |
they usually stay in the Royal Suite or heads of state. | 0:32:16 | 0:32:19 | |
Hello. Good afternoon, ladies. | 0:32:19 | 0:32:20 | |
Welcome. Welcome to the Royal Suite. Here we have the sitting room. | 0:32:22 | 0:32:29 | |
It's Edwardian, it is very nice. We have a French and marble fireplace. | 0:32:30 | 0:32:35 | |
Here we have a piano. | 0:32:37 | 0:32:39 | |
It says here, this piano belonged | 0:32:44 | 0:32:46 | |
to Richard D'Oyly Carte of Gilbert and Sullivan fame. | 0:32:46 | 0:32:49 | |
I can play, but not very well. | 0:32:49 | 0:32:51 | |
Who is the most famous person you have ever had to be a butler to? | 0:32:54 | 0:32:59 | |
I would say probably Donatella Versace. She was wonderful. | 0:32:59 | 0:33:02 | |
I loved her. She was very, very nice. | 0:33:02 | 0:33:04 | |
She stayed in the penthouse, she was really sweet. | 0:33:04 | 0:33:07 | |
She was all in her leathers and she could walk very straight. | 0:33:07 | 0:33:10 | |
She was very sweet. She was very nice. | 0:33:10 | 0:33:13 | |
And Mariah Carey, she was lovely. A very nice lady. She stayed upstairs. | 0:33:13 | 0:33:18 | |
And when you are famous, you can't use your own name, | 0:33:18 | 0:33:20 | |
you have to use your alias. | 0:33:20 | 0:33:22 | |
You can't be Mariah Carey when you are staying at Claridge's, | 0:33:22 | 0:33:25 | |
you have to be something else. | 0:33:25 | 0:33:26 | |
So it is quite nice. | 0:33:26 | 0:33:28 | |
Here is the dining room, here, if I can take you through. | 0:33:28 | 0:33:31 | |
You can have a few meals here, it seats up to 10 to 12 people. | 0:33:33 | 0:33:37 | |
Put the lights on. | 0:33:37 | 0:33:40 | |
Sorry. | 0:33:40 | 0:33:42 | |
And here's the bedroom here. | 0:33:42 | 0:33:45 | |
Again, you have call buttons on either side, if you'd like. | 0:33:45 | 0:33:47 | |
And this leads into the bathroom. | 0:33:47 | 0:33:49 | |
And because Claridge's loves you, when you stay here, you don't | 0:33:49 | 0:33:53 | |
have to lift your leg too high to get into the bath, it is sunken. | 0:33:53 | 0:33:56 | |
And when you are in the bath, if you need a valet | 0:33:56 | 0:33:58 | |
or the maid to come, there is call buttons there as well. | 0:33:58 | 0:34:01 | |
Shower and everything else. Thank you very much. | 0:34:01 | 0:34:04 | |
-Good morning, this is your 6.45 wake-up call. -'Thank you so much.' | 0:34:10 | 0:34:14 | |
-You're very welcome. -'Can you tell me what the weather is today?' | 0:34:14 | 0:34:17 | |
Today is going to be cloudy with some light rain in the forecast, | 0:34:17 | 0:34:20 | |
and the high is going to be approximately eight Celsius | 0:34:20 | 0:34:24 | |
-or 46 Fahrenheit. -'All right, thank you so much.' | 0:34:24 | 0:34:26 | |
-Do you get prank callers? -Yeah, you do sometimes. | 0:34:26 | 0:34:29 | |
They were calling with what is called a soundboard, where they take | 0:34:29 | 0:34:31 | |
a celebrity's voice and they splice it up into various little audio bits. | 0:34:31 | 0:34:36 | |
But you get used to the ones they will call you with all the time. | 0:34:36 | 0:34:38 | |
They call you with Arnold Schwarzenegger quite a lot, | 0:34:38 | 0:34:41 | |
so you will pick up the phone | 0:34:41 | 0:34:42 | |
and say, "Good afternoon, Claridge's, how may I help you?" | 0:34:42 | 0:34:44 | |
And then you will hear, "Who is your daddy and what does he do?" | 0:34:44 | 0:34:48 | |
Christie. Is Christie here? | 0:34:50 | 0:34:52 | |
Tell us a little bit about the weekend in store. | 0:34:52 | 0:34:55 | |
We have news about a very exciting booking that came in overnight. | 0:34:55 | 0:34:58 | |
She is going to be checking into our penthouse for one month, | 0:34:58 | 0:35:01 | |
starting on November 1st. | 0:35:01 | 0:35:03 | |
So if we can all get to familiarise ourselves with her, | 0:35:03 | 0:35:06 | |
-and there will be more details to come on that shortly. -Absolutely. | 0:35:06 | 0:35:09 | |
-And Karl, you... -Can I just come in on the Jacuzzi? | 0:35:09 | 0:35:12 | |
Basically, the requirement is a Jacuzzi, to put a Jacuzzi in. | 0:35:12 | 0:35:17 | |
We just need to make sure it is ordered today. | 0:35:17 | 0:35:19 | |
We need the room for Monday. | 0:35:19 | 0:35:20 | |
Christian, make sure it is off for Monday. | 0:35:20 | 0:35:22 | |
We're going to rip everything out Monday and start building Tuesday | 0:35:22 | 0:35:24 | |
until the end of the week, so it is quite a lot of work. | 0:35:24 | 0:35:27 | |
A lot of marble work. | 0:35:27 | 0:35:28 | |
And that is it for today. | 0:35:28 | 0:35:32 | |
OK, have a good day, everyone, thank you very much. | 0:35:32 | 0:35:36 | |
Can you tell me a bit about the pop artist | 0:35:36 | 0:35:39 | |
-who is coming? Because that is quite exciting. -It is. | 0:35:39 | 0:35:41 | |
We just heard about it at 11 o'clock last night, | 0:35:41 | 0:35:44 | |
so we don't know a whole lot. | 0:35:44 | 0:35:45 | |
We have to now do some research, | 0:35:45 | 0:35:47 | |
but she does have a crew of 35 people that she travels with. | 0:35:47 | 0:35:50 | |
One of her preferences was to have a Jacuzzi. | 0:35:52 | 0:35:55 | |
A Jacuzzi, but also to stay on a high floor and to stay | 0:35:55 | 0:35:58 | |
in a penthouse. And our penthouse at this point doesn't have a Jacuzzi. | 0:35:58 | 0:36:02 | |
But it will have one in about four days. | 0:36:02 | 0:36:05 | |
Out goes the 15-year-old bath. | 0:36:11 | 0:36:13 | |
In goes the Jacuzzi, surrounded by the original marble. | 0:36:13 | 0:36:16 | |
-Have you done this before? -Not a Jacuzzi. -Not a Jacuzzi. -A gym. | 0:36:16 | 0:36:21 | |
A real, real big gym. Actually, I have pictures of that one, | 0:36:21 | 0:36:26 | |
I don't think I have ever showed you that. | 0:36:26 | 0:36:28 | |
Wait. | 0:36:34 | 0:36:35 | |
Ian, do you want to kick off and start through arrivals from Friday? | 0:36:42 | 0:36:46 | |
The artist going into the Brook Penthouse. | 0:36:46 | 0:36:48 | |
She is actually pre-registered for arrival on Saturday. | 0:36:48 | 0:36:51 | |
Everyone has received the memo. | 0:36:51 | 0:36:52 | |
The Claridge's team has researched their new guest | 0:36:52 | 0:36:55 | |
from her stays in other hotels. | 0:36:55 | 0:36:58 | |
I was just looking through e-mails, quite interesting - | 0:36:58 | 0:37:01 | |
specific comments made by her team from previous stays. | 0:37:01 | 0:37:04 | |
As Ian said, going to that suite without any pre-authorisation, | 0:37:04 | 0:37:09 | |
without being accompanied by their staff, | 0:37:09 | 0:37:11 | |
without going through the butlers can't be stressed any stronger. | 0:37:11 | 0:37:15 | |
It is just imperative that nobody, for any reason, | 0:37:15 | 0:37:18 | |
goes to that suite. | 0:37:18 | 0:37:19 | |
Also, they had issues there, | 0:37:21 | 0:37:22 | |
they had like a tap falling off, which put the whole stay | 0:37:22 | 0:37:29 | |
into jeopardy. So it is obviously quite a serious thing to happen, | 0:37:29 | 0:37:34 | |
but that one thing nearly lost that hotel the entire piece of business. | 0:37:34 | 0:37:40 | |
We're going to look at the Jacuzzi that we have installed last week | 0:37:40 | 0:37:44 | |
for our arrival on Saturday. | 0:37:44 | 0:37:45 | |
-OK. Let's have a look. -Let's hope we like it. | 0:37:48 | 0:37:53 | |
So, one Jacuzzi. | 0:37:57 | 0:37:58 | |
-Wow. -Nice low remote control. | 0:38:02 | 0:38:06 | |
OK. | 0:38:06 | 0:38:07 | |
OK. | 0:38:08 | 0:38:10 | |
Well, this looks very... very good. | 0:38:10 | 0:38:13 | |
You see, the most important thing is that you always test everything, | 0:38:25 | 0:38:29 | |
because, of course, everyone is telling you it is perfect | 0:38:29 | 0:38:33 | |
and it is ready and it is installed, | 0:38:33 | 0:38:34 | |
but we believe that it is only once you have seen it, it really works. | 0:38:34 | 0:38:39 | |
So someone will have to sit in this Jacuzzi before she arrives. | 0:38:41 | 0:38:46 | |
-You. -No! -THEY CHUCKLE | 0:38:46 | 0:38:49 | |
The pop star has arrived | 0:38:57 | 0:38:59 | |
and been settled into the £6,700-a-night penthouse. | 0:38:59 | 0:39:04 | |
Of course, let me connect you with the foyer and reading room. | 0:39:06 | 0:39:10 | |
-Thank you. -You're welcome. | 0:39:10 | 0:39:13 | |
All the numbers are up here. | 0:39:13 | 0:39:14 | |
I can't remember what I had for breakfast this morning, | 0:39:14 | 0:39:16 | |
but I can remember all the numbers. | 0:39:16 | 0:39:19 | |
-And have you had many calls from the pop artist? -Not one. | 0:39:19 | 0:39:25 | |
I have not spoken to her once. | 0:39:25 | 0:39:28 | |
Her manager, yes, he calls a lot, but her herself, | 0:39:28 | 0:39:32 | |
no, I don't even know if she has a voice. | 0:39:32 | 0:39:35 | |
-Have you seen her? -I've not. | 0:39:39 | 0:39:41 | |
I think I've seen a video on YouTube, but no, not in person. | 0:39:42 | 0:39:46 | |
Good afternoon, Claridge's, how may I help you? | 0:39:46 | 0:39:49 | |
Have you met the pop artist who is up in the penthouse? | 0:39:51 | 0:39:54 | |
-Has she been in this lift? -Yes. | 0:39:54 | 0:39:57 | |
And sit over here... | 0:39:57 | 0:39:59 | |
..and is very happy to be up and down in this lift. | 0:40:01 | 0:40:05 | |
And does she ever say anything? | 0:40:05 | 0:40:08 | |
She says good morning, good afternoon, but always is very tired, | 0:40:08 | 0:40:12 | |
because she is working most of the time. | 0:40:12 | 0:40:15 | |
Good evening! | 0:40:17 | 0:40:18 | |
I met her twice, and she said, | 0:40:22 | 0:40:24 | |
"Hello! I am going now, you can do my room." | 0:40:24 | 0:40:28 | |
But this is full of luggage. Hundreds of luggage. | 0:40:28 | 0:40:34 | |
What did she buy? | 0:40:34 | 0:40:36 | |
She buys shoes, designer like Chanel, | 0:40:37 | 0:40:43 | |
Louis Vuitton, all designer clothes. | 0:40:43 | 0:40:47 | |
High heels, really sparkling shoes. She have hundreds, maybe. | 0:40:47 | 0:40:51 | |
Because this room may be, I don't know, it costs a thousand a night. | 0:40:55 | 0:41:01 | |
-What do you think of that? -Very, very expensive! | 0:41:02 | 0:41:06 | |
This is the most expensive room in Claridge's. | 0:41:08 | 0:41:10 | |
So what have you learned about rich people? Are they always happy? | 0:41:13 | 0:41:18 | |
I think... What I think about rich people is they have too much money. | 0:41:21 | 0:41:27 | |
-Would you like to be famous? -No! | 0:41:28 | 0:41:32 | |
I think ordinary people like us | 0:41:32 | 0:41:35 | |
is a better life. We can do whatever we want. | 0:41:35 | 0:41:39 | |
We have liberty, but not with bodyguards. | 0:41:39 | 0:41:42 | |
-Hello! -Done 737. | 0:41:44 | 0:41:47 | |
Christmas season is key for the hotel. | 0:41:59 | 0:42:02 | |
More is spent in its four walls than at any other time of the year. | 0:42:03 | 0:42:07 | |
I think the time it takes to put these baubles on, | 0:42:10 | 0:42:14 | |
it takes a very long time. | 0:42:14 | 0:42:16 | |
It's such a nice time of the year, isn't it, Christmas? | 0:42:22 | 0:42:25 | |
It is, when you see how it all comes together, and yes, really lovely. | 0:42:25 | 0:42:30 | |
It's a piece of Claridge's tradition that every year | 0:42:40 | 0:42:43 | |
the hotel has a famous designer to build its Christmas tree. | 0:42:43 | 0:42:47 | |
For the past two years, this has been John Galliano, | 0:42:48 | 0:42:51 | |
but not this year. | 0:42:51 | 0:42:52 | |
Another French couture house has been approached. | 0:42:53 | 0:42:56 | |
I don't know if you've all seen it. Here is a printout. | 0:42:58 | 0:43:00 | |
This is a visual, drawn by Alber. | 0:43:00 | 0:43:03 | |
Alber is the head designer for Lanvin. | 0:43:03 | 0:43:05 | |
It's a completely and utterly different design from anything | 0:43:05 | 0:43:09 | |
we've done before, which I think is probably a very good thing. | 0:43:09 | 0:43:12 | |
Personally, I love the idea of the tree. | 0:43:12 | 0:43:15 | |
I think it has something very artistic | 0:43:15 | 0:43:17 | |
and it has got something very bespoke and personal. | 0:43:17 | 0:43:21 | |
This is really Alber Elbaz creating a Christmas wish. | 0:43:21 | 0:43:25 | |
And I can remember the attraction that the tree has been over | 0:43:25 | 0:43:29 | |
the last few years and I can really see people coming in, | 0:43:29 | 0:43:32 | |
and families under the tree and children just being super excited. | 0:43:32 | 0:43:35 | |
That tree is obviously not just magically appearing, | 0:43:35 | 0:43:39 | |
it will require some meticulous planning | 0:43:39 | 0:43:42 | |
and getting ready for this to happen, but in essence, | 0:43:42 | 0:43:45 | |
we have the timeframe between | 0:43:45 | 0:43:48 | |
midnight and 6am, so that is only six hours. | 0:43:48 | 0:43:52 | |
The tree just has to be ready, it has to be ready at six, | 0:43:52 | 0:43:55 | |
the latest 6.30, lit. | 0:43:55 | 0:43:57 | |
There comes a point when everybody gets tired | 0:43:57 | 0:43:59 | |
and everybody gets more interested in coffees and sandwiches. | 0:43:59 | 0:44:02 | |
We need to watch that. | 0:44:02 | 0:44:04 | |
This is Madame and Monsieur Lanvin. Oh, mon dieu! | 0:44:18 | 0:44:22 | |
-And who is this? -This is the mistress of the house. | 0:44:26 | 0:44:31 | |
Oh, my goodness, look at her fingers and her jewels | 0:44:31 | 0:44:33 | |
and her red ruby nail varnish. | 0:44:33 | 0:44:35 | |
THEY LAUGH IN DELIGHT | 0:44:37 | 0:44:39 | |
Wow! Yeah! | 0:45:16 | 0:45:17 | |
Looks good. Looks great. | 0:45:19 | 0:45:21 | |
Do you think I could have this suit afterwards? | 0:45:23 | 0:45:25 | |
THEY CHEER AND APPLAUD | 0:45:38 | 0:45:39 | |
-Are you pleased with it? -I absolutely love it. | 0:45:48 | 0:45:50 | |
I am very, very pleased, yes. | 0:45:50 | 0:45:52 | |
So, first of all, what you see is | 0:45:52 | 0:45:53 | |
you see an amazing big Christmas tree | 0:45:53 | 0:45:55 | |
and you think, wow, it's a great tree, and then you look closer | 0:45:55 | 0:46:00 | |
and the first thing you probably discover is the scene around | 0:46:00 | 0:46:03 | |
the tree of Mr and Mrs Lanvin | 0:46:03 | 0:46:05 | |
and his mistress after the Christmas lunch. | 0:46:05 | 0:46:08 | |
What do you think about the Christmas tree? | 0:46:10 | 0:46:13 | |
I think it is really lovely. I love this place. It's really Art Deco. | 0:46:13 | 0:46:19 | |
Are you able to say how much it cost Claridge's to put up | 0:46:22 | 0:46:26 | |
all these decorations outside and inside? | 0:46:26 | 0:46:28 | |
Shouldn't that be a well-kept secret? How much does magic cost? | 0:46:31 | 0:46:36 | |
Jack and Norma Melchor are in their late 80s and have been coming to | 0:46:46 | 0:46:50 | |
the hotel for 40 years. | 0:46:50 | 0:46:53 | |
This year, | 0:46:53 | 0:46:54 | |
they'll spend Christmas with their family in the Royal Suite. | 0:46:54 | 0:46:59 | |
Jack sold his software company to Hewlett-Packard | 0:46:59 | 0:47:01 | |
and Norma jokes she bought early shares in Google. | 0:47:01 | 0:47:06 | |
Very happy, a very happy life we've had together. | 0:47:07 | 0:47:10 | |
These many, many years. | 0:47:10 | 0:47:12 | |
Yeah, it's been fun. | 0:47:12 | 0:47:13 | |
And the times we have spent at Claridge's have been delightful. | 0:47:13 | 0:47:18 | |
We always enjoy there as well. | 0:47:18 | 0:47:21 | |
I see, if you hold it this way, you can read it. | 0:47:21 | 0:47:24 | |
"Congratulations to Jack and Norma on their 65th wedding | 0:47:27 | 0:47:33 | |
"anniversary from the entire Claridge's team." | 0:47:33 | 0:47:37 | |
We know them so well. They are like family. | 0:47:37 | 0:47:40 | |
Our first visit to Claridge's, to London, | 0:47:40 | 0:47:45 | |
we went up to Harrods, I think. | 0:47:45 | 0:47:48 | |
-Fortnum and Mason. -Fortnum and Mason. | 0:47:48 | 0:47:51 | |
And saw that, and that is what we got. | 0:47:51 | 0:47:55 | |
MUSIC BOX PLAYS | 0:47:57 | 0:47:59 | |
We get the Royal Suite constantly now, | 0:48:05 | 0:48:08 | |
so we are in there every time we go over there. | 0:48:08 | 0:48:11 | |
I think excellent, caring and beautiful, that would be mine. | 0:48:14 | 0:48:18 | |
You could say that about me, I won't mind. | 0:48:20 | 0:48:22 | |
I think they screwed it up | 0:48:23 | 0:48:25 | |
when they gave that ten-year lease to the restaurateur. | 0:48:25 | 0:48:27 | |
-Oh, Ramsay. -I think they made a mistake. -Oh, that was awful. | 0:48:27 | 0:48:31 | |
'OK, well, let's look at the arrivals. | 0:48:35 | 0:48:37 | |
'There's one pre-registered on there today, | 0:48:38 | 0:48:41 | |
'the Melchors are coming back tomorrow, so let's pay a lot' | 0:48:41 | 0:48:45 | |
of attention there and prepare this, it's their Christmas Day. | 0:48:45 | 0:48:48 | |
Looking forward to having them back. | 0:48:48 | 0:48:51 | |
But they are staying for 16 nights, | 0:48:51 | 0:48:53 | |
so it is a long stay and they are going to celebrate Christmas here. | 0:48:53 | 0:48:57 | |
Make sure that everybody in your teams who has joined after | 0:48:57 | 0:49:01 | |
their last stay is discreetly being introduced and pointed out to them. | 0:49:01 | 0:49:06 | |
They are our most regular guests, they have been coming for 40 years | 0:49:06 | 0:49:10 | |
and it is such a special stay, so they should be recognised and known. | 0:49:10 | 0:49:14 | |
-They love to be introduced. -They love to be introduced, exactly. | 0:49:14 | 0:49:18 | |
Good, thank you. | 0:49:18 | 0:49:19 | |
OK, Mr and Mrs Melchor coming in for 16 nights, Catriona. 111. | 0:49:19 | 0:49:25 | |
I need to prepare the beds for Mr and Mrs Melchor. | 0:49:25 | 0:49:29 | |
And plus I need to organise some furnitures for them. | 0:49:29 | 0:49:33 | |
They like a wing chair in the sitting room | 0:49:33 | 0:49:36 | |
and a little table next to it. | 0:49:36 | 0:49:37 | |
Anything else that we need to do? Everybody knows who the Melchors are? | 0:49:38 | 0:49:42 | |
-Yes. -Good. | 0:49:42 | 0:49:43 | |
And next to the connecting doors... | 0:49:44 | 0:49:46 | |
The Royal Suite is being minutely prepared for the Melchors' arrival. | 0:49:46 | 0:49:51 | |
A detailed guest profile document is gathered on all returning | 0:49:51 | 0:49:54 | |
guests, that outlines their every preference, from how the beds are | 0:49:54 | 0:49:58 | |
made up and types of pillows | 0:49:58 | 0:50:01 | |
to where the furniture is placed within the room. | 0:50:01 | 0:50:04 | |
This is the set-up of the pictures here, the set-up | 0:50:04 | 0:50:08 | |
of the sitting room, how it looks, and the set-up of the bedroom. | 0:50:08 | 0:50:12 | |
The husband has a different way of making the bed | 0:50:18 | 0:50:20 | |
and then the wife has a different way as well. | 0:50:20 | 0:50:23 | |
But they are like traditional people, they really love...sheets. | 0:50:23 | 0:50:30 | |
For example here, bed next to the window | 0:50:30 | 0:50:33 | |
is for Mrs Melchor. And we are using only two sheets and blankets. | 0:50:33 | 0:50:38 | |
She don't want nothing else. | 0:50:38 | 0:50:40 | |
And on the top, we're putting an eiderdown. | 0:50:40 | 0:50:42 | |
It is like a duvet, but it is just on the top. | 0:50:42 | 0:50:46 | |
-Caroline? -Yes. -Can we just make sure those beds are tidied up at the end? | 0:50:46 | 0:50:51 | |
-Yeah? OK. See you later. -See you. | 0:50:53 | 0:50:57 | |
The colours are good in here, aren't they? The reds are perfect in here. | 0:51:03 | 0:51:07 | |
-This is exactly what we need, red in this room. -Yeah. -You know? | 0:51:07 | 0:51:10 | |
-It really brings the gold out as well. -Is it real? | 0:51:10 | 0:51:13 | |
-Of course it is real. -Is it real? | 0:51:14 | 0:51:16 | |
Of course it's not. | 0:51:16 | 0:51:19 | |
And typically, what does this suite cost to rent for the night? | 0:51:20 | 0:51:26 | |
-This suite is £5,500. -A night? -Yeah. | 0:51:26 | 0:51:30 | |
It is a lot of money, but I think you | 0:51:31 | 0:51:33 | |
can quite easily spend £10,000 flying to New York for a five-hour flight... | 0:51:33 | 0:51:39 | |
..so it's all become very relative. | 0:51:40 | 0:51:43 | |
It is a management tradition that on her arrival, | 0:51:43 | 0:51:47 | |
Mrs Melchor is handed an old set of keys to the doors of Claridge's. | 0:51:47 | 0:51:51 | |
They joke that she knows the hotel better than any of the staff | 0:51:51 | 0:51:55 | |
and can act as honorary night manager. | 0:51:55 | 0:51:58 | |
They are always in the same place | 0:51:59 | 0:52:01 | |
and they have been for a long time, because this has been | 0:52:01 | 0:52:04 | |
the general manager's desk for, I think, | 0:52:04 | 0:52:06 | |
probably more than 50 years. | 0:52:06 | 0:52:10 | |
Does she look very pleased when she gets them? | 0:52:10 | 0:52:14 | |
Yes. I mean, Mrs Melchor is | 0:52:14 | 0:52:16 | |
a fantastic woman and she has a great... | 0:52:16 | 0:52:19 | |
I think she has a great spirit and a great sense of humour, so you can | 0:52:19 | 0:52:23 | |
actually see a twinkly eye | 0:52:23 | 0:52:25 | |
when she gets these keys and as they disappear in her handbag. | 0:52:25 | 0:52:29 | |
-Yes. -OK. -Do you have a key? -I have a key. -Good. | 0:52:32 | 0:52:36 | |
After a day of preparation, | 0:52:36 | 0:52:38 | |
Thomas checks every last detail before Mr and Mrs Melchor arrive. | 0:52:38 | 0:52:42 | |
So...but Ian, let's just wait here for a moment. | 0:52:44 | 0:52:50 | |
I think we should take the orchids away, because that clashes | 0:52:53 | 0:52:57 | |
with the wreath. It is not the same, so we can just maybe get... | 0:52:57 | 0:53:03 | |
either nothing or a fruit bowl or more traditional flowers | 0:53:03 | 0:53:08 | |
or another Christmassy arrangement, but not orchids. | 0:53:08 | 0:53:14 | |
So that's very nice, very traditional Christmas arrangement. | 0:53:28 | 0:53:33 | |
-Pretty much. -Where will Mrs Melchor sit? -This is her seat. | 0:53:33 | 0:53:38 | |
And this space is always left here for just a little coffee trolley | 0:53:38 | 0:53:43 | |
in the afternoon. | 0:53:43 | 0:53:44 | |
Mr Melchor. Biscuits always here | 0:53:44 | 0:53:49 | |
and then here is for his iPad for his reading. | 0:53:49 | 0:53:53 | |
Everything is prepared perfectly. That is how it always is | 0:53:53 | 0:53:57 | |
and it always has to be like this, so it is good, all done. | 0:53:57 | 0:54:02 | |
Just a few flower changes and then we're all set. | 0:54:02 | 0:54:05 | |
We need to add some amenities, like the fruit, | 0:54:05 | 0:54:07 | |
but, of course, they're not here yet. | 0:54:07 | 0:54:09 | |
They come fresh from the kitchen. | 0:54:09 | 0:54:11 | |
Do you ever wonder when their last visit will be? | 0:54:11 | 0:54:14 | |
-No. -Do you think that when you see them? -No, no, no. | 0:54:17 | 0:54:20 | |
Let them enjoy this visit | 0:54:20 | 0:54:21 | |
and I am sure there will be many more to come. | 0:54:21 | 0:54:24 | |
Michael has been serving the Melchors | 0:54:29 | 0:54:31 | |
since he started working in the hotel. | 0:54:31 | 0:54:33 | |
They are still coming. | 0:54:34 | 0:54:36 | |
I have been here 34 years, and they have been coming longer than that. | 0:54:36 | 0:54:40 | |
It is the best part of our job, | 0:54:45 | 0:54:47 | |
we get lots of returning customers. | 0:54:47 | 0:54:49 | |
It is lovely to see the familiar faces coming back. It is nice. | 0:54:49 | 0:54:53 | |
Mr Melchor, welcome back. | 0:54:58 | 0:54:59 | |
-Mrs Melchor, how are you? -So glad to be here. -Welcome back! | 0:55:02 | 0:55:07 | |
-Most important thing, the keys. The keys. -Finally, someone in charge. | 0:55:07 | 0:55:11 | |
-I recognise you! -I know that. Two hours from the airport. | 0:55:15 | 0:55:19 | |
Two hours. God bless you. | 0:55:19 | 0:55:22 | |
During their 16-day stay, the Melchors only leave the hotel twice. | 0:55:35 | 0:55:39 | |
We are all creatures of habit. | 0:55:43 | 0:55:45 | |
That is the great thing about butlers, | 0:55:45 | 0:55:47 | |
people have breakfast and usually have the same thing. | 0:55:47 | 0:55:49 | |
The Melchors, they have the same breakfast every morning. | 0:55:49 | 0:55:51 | |
They have coffee for two, toast, well-done white toast, that's it, | 0:55:51 | 0:55:57 | |
maybe an orange juice. Now they might have some porridge. | 0:55:57 | 0:56:01 | |
-Are you amazed at how much money some people have? -Yes. Yes. | 0:56:01 | 0:56:05 | |
It's amazing. | 0:56:05 | 0:56:07 | |
These very difficult times, | 0:56:07 | 0:56:09 | |
you get someone coming to Claridge's and paying rack rate. | 0:56:09 | 0:56:12 | |
But you get used to it. It just goes over your head. Sometimes... | 0:56:12 | 0:56:19 | |
Some hot, strong coffee. I'll just open it for you here. | 0:56:19 | 0:56:23 | |
Frothy milk. | 0:56:23 | 0:56:26 | |
A little honey. Actually, apricot. There we are. | 0:56:26 | 0:56:30 | |
And for you, Mr Melchor. | 0:56:30 | 0:56:32 | |
It makes it nice when you know exactly what we need, right? | 0:56:32 | 0:56:35 | |
Monday's my good day, you are very lucky. Monday is my good day. | 0:56:35 | 0:56:39 | |
-You got your morning papers all right? -Yes. | 0:56:39 | 0:56:41 | |
-I read almost half already. -You've read them already. | 0:56:41 | 0:56:44 | |
-The good butler is not here. -No, you're stuck with me today. | 0:56:44 | 0:56:47 | |
But I'm off for the next three days, | 0:56:47 | 0:56:49 | |
so you'll have the good butler tomorrow. | 0:56:49 | 0:56:51 | |
-Have you ever got jealous or envious of them? -Never. | 0:56:51 | 0:56:54 | |
Never, ever. Why would I get jealous? | 0:56:54 | 0:56:58 | |
No, I think more power to them. They have probably worked | 0:56:58 | 0:57:02 | |
very hard for their money. No, I've never been jealous of our guests. | 0:57:02 | 0:57:07 | |
Thank you very much. | 0:57:07 | 0:57:09 | |
In very, very simple terms, every time someone visits, | 0:57:20 | 0:57:23 | |
you need to create a reason to visit again, so there needs to be | 0:57:23 | 0:57:28 | |
at least one memory that will encourage another visit. | 0:57:28 | 0:57:33 | |
And to create loyalty and to create that...emotion or that association | 0:57:35 | 0:57:43 | |
with the hotel that will make this person turn into a regular guest. | 0:57:43 | 0:57:47 | |
My late mother would always say, | 0:58:09 | 0:58:11 | |
"Don't do half things. Give 100% or else don't do it." | 0:58:11 | 0:58:14 | |
I think that's a very good outlook on life. Don't do half measures. | 0:58:14 | 0:58:18 | |
I just want to be happy. Life is very short. We are only passing through. | 0:58:18 | 0:58:23 | |
Subtitles by Red Bee Media Ltd | 0:58:46 | 0:58:49 |