Photo Claude Dussez
Marie-Madeleine: could you briefly introduce yourself and describe your connection to Verbier and the region?
I was born and grew up in the Val de Bagnes, where my parents chose to settle in 1954. My father founded an electrical company in Verbier together with two partners: Baillifard, Fellay and Gabioud, which later became Baillifard and Veuthey. My mother, a primary-school teacher, also taught there for several years. Much later, while my husband Jean-Philippe Jutzi and I were living in China, where he was posted as a diplomatic adviser, we bought an apartment in the resort. When we had to leave Beijing in 2020 in the midst of the COVID epidemic, we decided to settle in Verbier.
How did the idea for Chroniques de Verbier come about, and what prompted you to tell the story of Verbier in a way other than a simple historical chronology?
The idea for this book was suggested to me by André Guinnard, a real-estate agent in Verbier. After realising that the last book retracing the long history of the resort dated back to 1986, I felt there was indeed a gap to fill. I chose to tell Verbier’s story in a largely thematic way in order to offer a multi-entry, fragmented form of reading that is more digestible than a long, linear historical account. The advantage of this structure is that readers can enter the book according to their interests and linger where they choose. A quick reading is also possible, guided by the some 250 illustrations scattered throughout the pages.
The book blends memory, anecdotes, local history and rigorous documentation. How did you strike a balance between these different dimensions?
This approach came about quite naturally. My experience as a journalist certainly played a role. Very early on, I aimed to strike a balance between the many testimonies collected, the anecdotes shared and the narrative as such, in order to vary the pleasures of reading—always with the same concern to lighten the text and even raise a smile. The first chapter is written in the form of an “AVerbiercedary”, listing numerous stories from the distant past from A to Z. The book ends with future projects and two photographic portfolios by Melody Sky—who also took the cover photograph—and Sébastien Albert.
What did the research process look like? Were there any archives, testimonies or discoveries that particularly struck you?
It was a long-term undertaking, beginning with extensive reading of books dealing with the valley and Verbier in particular. It was enriched by research in municipal and cantonal archives, as well as consultations of old articles published in various Valais newspapers and magazines. To this “cold” documentary research were added the many testimonies gathered—around a hundred in all. I was often deeply moved by the generosity of those who agreed to search their memories and photo albums for the purposes of this book, and I am very grateful to them. Without them, the book would not have the same breadth and vitality. I was also struck by the profusion of projects inspired by the resort that never came to fruition, such as the Meili project dating back to 1945, which envisaged the creation of a climatic and sports resort including health and rest facilities.
APCAV appears several times in Chroniques de Verbier. What seemed important to you to highlight about the role of the association and that of property owners in Verbier’s evolution?
On several occasions, Verbier has played a pioneering role, and APCAV is one such example. Founded in April 1968, this association aimed at bringing communities closer together and represented a true innovation in terms of development. Moreover, driven by a desire to foster an even stronger sense of community, its president Brigitte Borel has, among other objectives, set out to organise more convivial events in the future, designed to encourage greater interaction and exchange. These are initiatives to be applauded.
Among the 304 richly illustrated pages, are there passages, anecdotes or images you would like to highlight?
It is difficult for me to single out certain passages or illustrations over others. However, it is particularly close to my heart to acknowledge the remarkable work of the graphic designers at the Paris-based agency Irrésistible, without whom this book would not be so elegant, as well as the invaluable contribution of the many photographers involved.
Your book pays tribute to the architects of Verbier’s rise. What common values or character traits do you see emerging among these pioneers?
They dared to dream of Verbier on a grand scale, to be visionaries, to venture down paths that seemed arduous, even risky, and to brave opposing winds that might have led many others to give up. Without these pioneers, and those who later embraced their aspirations, Verbier would not have the same face today.
What keys to understanding do you hope to give readers to grasp Verbier’s evolution?
I like to think that one cannot look to the future without drawing nourishment from the past, too often the forgotten father of the present—that is why I undertook this project. Moreover, with time, one tends to forget just how much of a laboratory for all kinds of innovation Verbier has been. While nostalgia for a certain era may be understandable, one must not forget that to move forward, one has to accept certain metamorphoses. To stand still is to die. Of course, there will be pitfalls to overcome and excesses to avoid, such as the one that would turn Verbier into an oasis exclusively for the wealthy.
How do you envisage the future of the resort? What aspects deserve to be preserved or passed on?
Predicting the future is always a perilous exercise. I have faith in the many positive energies striving to make Verbier a four-season resort. Why such optimism? In particular because the words of Marcus Bratter, who sadly left us far too soon, resonated deeply with me: “Verbier is an animal with the ability to adapt to its environment. One only has to look back to see how quickly life there has changed.” Enough said…
Note
Chroniques de Verbier has been published in two languages. The English version was translated and adapted by Kerry-Jane Lowery, photographer, author and editor of books and magazines. A dual Swiss-British national, Verbier is truly like home to her.
Interview by Désirée Borel, November 2025