The Wentworth Club, located on the exclusive Wentworth Estate in Surrey, is the birthplace of the Ryder Cup and the BMW PGA golf Championship

Invitation only, private members club Wentworth is home to one of the UK’s most exclusive and historic golf courses. After a shiny redevelopment, the luxury club house is trés chic and sophisticated – and it offers much more than just golf, as Associate Editor Kitty Harris discovers

Club houses are undeniably appealing (the lure of leisure activities, beautiful lounges, long lazy luncheons), but often their estates are difficult to get to and by the time you’ve factored in the journey and planning, it doesn’t seem so seductive after all, especially if you’ve only got half a day to spare. Fear not: Wentworth Club, on the south west fringes of London, is a short distance by limo from Heathrow, making it an ideal stopover en-route to the capital.

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Located on the Wentworth Estate, home to many a celeb and royalty (it’s one of the most expensive private estates in a London suburb), the Wentworth clubhouse sits at the end of a picturesque driveway past verdant, manicured lawns and golf courses fringed by leafy trees. We take a golf buggy (what else?) from the main clubhouse up to the Tennis and Health Club where a beautiful 25-metre indoor pool awaits along with a gym, dance studio and jacuzzi. There’s also a charming terrace where members can take their lunch whilst surveying the tennis courts and discussing the power of their serve.

The indoor pool at Wentworth’s Tennis and Health club

The Wentworth Club was bought by the Reignwood Group back in 2014 and they have since invested over £20 million pounds in its redevelopment. Directed by Dr. Chanchai Ruayrungruang, a Chinese-Thai businessman, the group also own the likes of Ten Trinity Square in London – to which Wentworth Club members are granted immediate access (a serious perk).

The club attracts international, high flying business men and their families who travel to London for long weekends, as well as golfing enthusiasts, tennis patrons and spa denizens with houses in the estate where they visit and live for one week of the year. And of course, there are also the professional golfers. The club was the birthplace of the Ryder Cup and the BMW PGA golf Championship, and played host to the HSBC World Match Play Championship for over forty years.

A cosy corner in the club lounge

One of Reignwood’s most impressive developments (and most popular attractions) at the club is the serene wood-panelled spa, kitted out with Natura Bissé products and a host of Bamford Skincare options for all skin types. We try the signature massage before gliding back to the main clubhouse to explore the nineteenth century castellated features that were maintained during renovation; what is now the club house, was the former home of the Duke of Wellington’s brother-in-law. The new interiors were designed by Thorp Design of Sloane Street London, and the look throughout is plush and decadent with Chinese crafted carpets and Italian marble.

Read more: Why we love Club Dauphin on Cap Ferrat right now

We pause for a moment in admiration of the Wentworth Hall of Fame, which displays some of the club’s golfing memorabilia with a glass showcase of historic golf clubs. Members can have their clubs bespoke made and wardrobes kitted out at the Pro Shop, which more closely resembles a Mayfair boutique than a sports shop. We observe a few well-dressed members taking their coffee in the lounge, perhaps before moving onto a working lunch in one of the new private dining rooms where there are reportedly 25 chefs on hand to prepare super-deluxe menus.

The club lounge where members can socialise

As it’s a beautiful day, we choose to have lunch on the terrace, which faces one of the club’s three eighteen-hole golf courses. Over duck salad garnished with pomegranates, alongside a tipple of champagne we learn that membership at Wentworth Club is a six-figure debenture. There is also a health and tennis club membership, but no access to the golf courses, so if you’re serious about your swing the full membership is a no brainer.

For more information visit: wentworthclub.com

The grand exterior of Monte-Carlo Bay hotel

Why should I go now?

Speak to Monaco residents and they may tell you that August isn’t the ideal time to visit their fairytale territory: there are too many tourists, apparently. And yet we at LUX have quite a few Monaco-based friends who are staying put in the principality this month, and the overwhelming reason is the Monte Carlo Bay hotel.

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To understand its unique appeal, you need to be a little familiar with the rest of the hotel offerings on the Cote d’Azur. Monte Carlo itself has the Hermitage and the Metropole, beautiful, formal palaces with limited outdoor areas that somehow make them better suited to a romantic autumn break than a summer holiday. Down the coast, there are other palace hotels, some of them with big outdoor pools; but there is nothing like the Monte Carlo Bay.

The hotel offers a plethora of activities and boasts a large swimming pool complex (pictured here and below)

Arrive at the grand main entrance (you will likely be in a short queue of special edition Ferraris, convertible Rolls Royces, and souped-up Lamborghinis) walk through the high-ceilinged foyer and onto the terrace and you could be in a resort hotel in Asia; below you other terraces gleam invitingly, but the main attractions are, cleverly, screened out of sight.

What’s the lowdown?

L’Orange Verte

The Monte Carlo Bay is a rare hotel that, if anything, is too modest about itself. This is a full-on resort, built on a semicircle of land on Monaco’s seafront, extending out into the Mediterranean, with a complex of swimming pools, some of them sand-bottomed, extending under a maze of bridges and terraces towards the sea. Cafes and bars and speciality ice cream stalls pop up everywhere you turn, and the activity doesn’t stop at the seafront: you can swim in a specially cordoned-off area of the sea, 50 metres long, overseen by lifeguards and protected from jellyfish by a net. We tried parasailing and waterskiing, the former an absolutely spectacular way to experience the mountainous coastline surrounding the principality. And this being Monaco, the expertise of the instruction was unparalleled: our parasailing captain had been the French national champion.

Read more: Geoffrey Kent on finding new places in a well-travelled world

In the unlikely instance of the weather taking a turn for the worse, there is also a huge indoor pool and hydrotherapy area, itself connected to yet another outdoor pool. The design of the hotel means that all these extensive pool and terrace areas are invisible either from the street, or even from the hotel’s own restaurant terrace.

Guests can sunbathe right on the ocean’s edge

The Bay has its own Michelin-starred restaurant, Blue Bay, but we enjoyed our dinners from the expertly curated and created international menu (broken down by region) out on the terrace at L’Orange Verte, with its view over to the sea. The chicken satay and crudités plate was a perfectly summery compliment to a glass of Provencal rosé.

Getting horizontal

The Monte Carlo Bay is a four star hotel, rather than a five star, although you wouldn’t believe it from the facilities or the breakfast buffet, which offers everything from miso soup to a proper salad selection, a plethora of hot food, and two rows of every kind of fresh bread for toasting. The rooms reflect the fact that it’s a comfortable, but not a luxury, offering: stone floors without carpets, functional bathrooms of a decent size with excellent products, all without the extra fripperies of a luxury hotel, which felt unnecessary in the circumstances. Our room had a big balcony with a view over legendary nightclub Jimmy’z, just across the way, and to the sea and the palace of Monaco, on the famous rock across the bay.

Flipside

It’s worth paying the difference to get a sea view room; the view on the other side (of buildings) is less up-lifting.

Rates: From €182.70 ( approx. $200/ £150)

To book your stay visit: montecarlobay.com

Gaggenau 2018 UK Sommelier competition winner Zareh Mesrobyan is a sommelier at the two Michelin-starred Andrew Fairlie restaurant at Gleneagles in Scotland

Last week Gaggenau’s 2018 UK Sommelier competition took place in London to decide which young sommelier would go on to represent the UK in the global challenge later this year. As a member of the judging panel, LUX’s Editor-in-Chief Darius Sanai recalls the event

There was a welcome relief from the soaring heat in central London last week when I spent half a day at Gaggenau’s home-like showroom near Mayfair (replete with icy air-con) judging their 2018 UK Sommelier competition. The winner would go on to China in October to represent the UK in Gaggenau’s global sommelier challenge, a significant accolade in the Somms world.

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Sommeliers are at once underestimated and overrated. In some (perhaps old fashioned) establishments, the sight of a patronising and overdressed gentleman approaching the table to tell me what to drink is enough to make me switch to ginger beer. But in most restaurants these days, sommeliers are younger, enthusiastic, and too often overlooked by customers who either don’t care what they drink or just plug wine list entries into an app – which doesn’t give the same results at all.

The judging panel from left to right: Craig J Bancroft MI, Managing Director at Northcote, LUX Editor-in-Chief Darius Sanai and Richard Billett, Managing Director of Maisons Marques et Domaines UK

So kudos to Gaggenau for celebrating the sommelier, and it was a fascinating event and a close call between the eventual winner and runner-up. In the end, Zareh Mesrobyan‘s clear, fast and superior knowledge in the rapid-fire quiz (sample question: What is cremant?) distinguished him. Zareh Mesrobyan works at the rarefied two-Michelin star Andrew Fairlie restaurant at Gleneagles in Scotland, and good luck to him in China later this year. I’d be delighted to listen to the recommendations of this smart, well-presented and intelligent young man next time I go to Gleneagles.

Discover Gaggenau at gaggenau.com

Looks from the Brøgger PS19 Collection

Bright colours, androgynous silhouettes and billowing fabrics: just three of the reasons we’re currently obsessed with womenswear label Brøgger. We speak to the Danish co-founders Julie Brøgger and Linn Norström Weiler about Renaissance fashion, dressing with confidence and HRH Queen Margrethe of Denmark 

Linn Norström Weile & Julie Brøgger

1. Describe the Brøgger mood

Julie and Linn: Bold, with a play on the feminine versus the masculine.

2. If you could travel back in time to a fashion era from the past when would it be and why?

Julie: Late 1920s/early 30s, I would try and run between Coco Chanel and her rival, Elsa Schiaparelli’s ateliers, just to observe these women change fashion forever. They did it in such different ways, but it is hard to think of anyone else other than these two – they were and still are the epitome of modernism.

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Linn: I agree with Julie, but I have to highlight the Renaissance as well. Especially in Italy, where art and extravagant fashion was thriving. Maybe I’m drawn to it because it is in such contrast to our Scandinavian simplistic heritage.

Look from the Brøgger AW18 Collection

3. Is there such thing as a fashion faux pas?

Julie: Not really, as long as you wear it with conviction and confidence anything goes. We all know that feeling when your friend wears something a bit ridiculous but makes it looks so cool and effortless, then you try to replicate and it’s a disaster.

Linn: Hear! Hear! In addition to confidence and conviction it’s about dressing to your body type and height, don’t force it if it doesn’t fit.

Looks from the Brøgger PS19 Collection

4. What do you never leave the house without?

Julie: Dog poo bags….they seem to turn up in every pocket and bag. Now I find them really handy – great for disposing gum when you can’t find a bin.

Linn: Staying on theme, baby diapers…

Look from the the Brøgger AW18 Collection

5. What’s inspiring you the most currently?

Linn: This is Julie’s field!

Julie: I’m obsessed with HRH Queen Margrethe of Denmark at the moment, especially the 1980s era where she worked closely with Danish couturiers Erik Mortensen (of Balmain) and Holger Blom (a royal family favourite). She is such a brave and adventurous dresser, I have great respect for that.

Looks from the Brøgger PS19 Collection

6. What’s the best piece of advice you’ve ever been given?

Julie and Linn: Succeeding in the fashion industry requires patience and persistence, there’s no fast lane sadly!

Shop online and view the full collections: brogger.co

Gabon is one of the few countries on this planet that is still relatively untouched by tourism, says Geoffrey Kent, it’s also where you can find mountain gorillas

In his latest column, Abercrombie & Kent Founder Geoffrey Kent considers the difficulties of discovering new destinations and crossing frontiers – from space travel to Gabon’s national reserves

In the noughties, I decided that having explored every continent in the world, I would set myself a new challenge: to add space travel to the range of tours offered by my company. Space is the ultimate unexplored destination.

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In South Africa, at a place called Thunder City – at the time, the site in Cape Town for ex-military jet flights – I boarded an English Electric Lightning plane, captained by a pilot named David Stock. We took off and went from zero to 40,000ft in one minute. We levelled out at 65,000ft and accelerated to full speed (Mach 2.2) whilst looking at the purple curvature of the earth. After I landed back on earth having taken on 5.5 GS, with my feet firmly back on the ground, I called the head scientist and engineer on my A&K Space team and asked about the chances of accidents occurring during space travel. He replied: “There’s a 100 percent chance we will have an accident”. I quickly took stock and decided to cancel the whole thing. It was too risky.

Suri tribesmen waiting for a stick fight (donga) to commence in the village of Kibbish in the North Western Omo valley, Ethiopia. Image by Trevor Cole.

It was one of my most audacious exploits, but a good entrepreneur knows to pull the plug when all the odds are against you. I may be a risk-taker in my personal life but when it comes to travel and my clients, safety is paramount. When some holidays have been dismissed by A&K staff as unfeasible, I have undertaken them myself to ensure they can be offered safely to travellers. This has involved travelling from the source of the Upper Amazon in Peru to where it enters the Atlantic Ocean – a hairy experience with a swift current and moving sandbanks – and cruising to the North Pole.

The colourful skyline of Tbilisi and Narikala Castle, Tbilisi, Georgia

It’s true that the world is well-travelled, but there are still unexplored spots. The limitation is that in these places there is no hospitality infrastructure, and few have a desire to really rough it like explorers of old. I launched my eponymous Inspiring Expeditions with Geoffrey Kent based on the question: why not take people to spots of immense beauty and interest, but where others rarely venture? I lead every expedition and if required, we bring in everything required: beds, Michelin-starred chefs, specialist guides, and even espresso machines.

Read more: Co-founder & CEO of Spring Francesco Costa on creative co-working

I’ll be at the South Pole with my guests this December. Next year on various voyages, we’ll travel by private jet to lesser-visited places like Georgia – that great cultural crossroads; Kamchatka, Russia’s last wilderness; the Omo Valley and the Danakil Depression in Ethiopia; and West Papua in Indonesia.

Ethiopia’s Danakil Depression has one of the most extreme climates found on Earth

These Inspiring Expeditions are all about where I haven’t been. I’m mildly obsessed with an app called Been, in which I list all the countries to which I have travelled – around 140, which equates to 70 per cent. In a decade, I want that figure to be at 100 per cent.

One country to which I’d never been before but had the privilege to travel to recently is Gabon. An impressive 11 per cent of this unexplored part of Africa is designated as national reserves and, in this parkland, mountain gorillas can be found. From a luxury executive Puma Helicopter, I cruised the coast and flew over forests, the sand cliffs and Kongou and Djidji Falls. I fell in love with Loango National Park where I spotted elephant, hippos and buffaloes. One group of elephant were swimming off the beach with their trunks raised out of the water like snorkels. Tourism is still a fledgling industry in Gabon, but I predict it will take off in a big way and very soon, and I hope A&K can be at the forefront of that.

Find out more about Abercrombie & Kent’s ‘Inspiring Expeditions with Geoffrey Kent’: abercrombiekent.com/small-group-journeys/inspiring-expeditions-by-geoffrey-kent

Frida Kahlo with Olmec figurine, 1939. Photograph Nickolas Muray. © Nickolas Muray Photo Archives

Frida Kahlo: Making Her Self Up is an examination of the creation of an artist – and a person, – rather than of the artworks themselves. Viewers enter through a corridor made to resemble Casa Azul in its brilliant colour (the ‘Blue House’ in Mexico City was where Kahlo grew up and lived with her husband, the muralist Diego Rivera) – a fitting invitation into the artist’s intimate world. On display are grainy family portraits scribbled with Kahlo’s own hand (one striking image of Kahlo dressed for her Catholic Confirmation reads Idiota! revealing the artist’s retrospective self-perception and changing views towards religion), video reels, Kahlo’s iconic costumes, medicines, lipstick, jewellery.

Frida Kahlo in blue satin blouse, 1939. Photograph Nickolas Muray © Nickolas Muray Photo Archives

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It’s haunting and atmospheric with speakers playing birdsong and ambient music as you drift through the different coloured rooms, and in some ways, it does feel like an intrusion. You can’t help, but feel an air of macabre voyeurism as you gaze at Kahlo’s illustrated body casts, bottles of pills, lipstick stain on a pocket photograph of Rivera… You might well question whether Kahlo would have wanted these things exposed at all?

And of course, we can’t know for sure, but Kahlo was, in every aspect of her life, a performer. She was, as the exhibition shows, an extension of her art.

The Love Embrace of the Universe, the Earth (Mexico), Me, Diego, and Señor Xolotl, Frida Kahlo, 1949 (c) The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Collection

It is deeply moving, and important to see the physical evidence of Kahlo’s suffering (at the age of 18, she was in a bus crash that left her with lifelong disability) and to place this alongside her iconic paintings that are steeped with complex symbolism and emotion. She was a proud and brave woman, and the exhibition is a beautiful celebration of all that she achieved and endured.

‘Frida Kahlo: Making Her Self Up’ is sponsored by Grosvenor Britain & Ireland, and runs until 4 November 2018 at the V&A. For more information visit vam.ac.uk/FridaKahlo

Millie Walton

Grand-Hôtel du Cap-Ferrat by Four Seasons sits perched high on the cliff edge with stunning views of the Mediterranean

Club Dauphin at Grand-Hôtel du Cap-Ferrat by Four Seasons feels more like a private island than one of the most famous poolsides in the Cote d’Azur, says LUX Editor-in-Chief Darius Sanai

It’s high summer, and you are almost certain to be suffering from one of two types of holiday envy right now. Either you’re sitting in your office swiping through Instagram posts from people in exotic locations, wondering why you’re not there; or, worse, you’re on holiday in an exotic location, swiping through the same Instagram posts – and you’re still envious. Because, just as there’s always going to be someone richer or more successful than you (unless you’re Bill Gates or Nelson Mandela), there’s always a better place to be than where you’re at.

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Club Dauphin’s infinity pool surrounded by sun loungers facing out towards the ocean

Unless you’re sitting poolside at Club Dauphin at the Grand-Hôtel du Cap-Ferrat, sipping a glass of rosé (poured by the cute bartender from a magnum, as is the current fashion), with a little tartlet by your side – a tartlet of the pâtissier kind (before you get any ideas – we’re not that type of magazine) created by the pastry chef as a special summer délice.

The Club Dauphin is the swimming pool area at the Grand-Hôtel, itself a dramatic creation at the very tip of the most exclusive spot on the Cote d’Azur, surrounded by the Mediterranean on three sides and avenues of stone pines shrouding hundred million euro Belle Epoque villas on the other. To get to the Club from the hotel, you wander along the lawn and down through a tropical garden sloping down a cliffside, which reveals a deep blue pool lined by sun loungers on two sides, rocks crashing into the sea on another, and a poolside restaurant/terrace. It is entirely private, more like being on a private island than in the heart of the Cote d’Azur, one of the world’s busiest and most beautiful holiday destinations, in high summer.

Read more: Co-founder & CEO of Spring Francesco Costa on creative co-working

Open-air dining by the poolside

And that’s the beauty of the Grand-Hôtel. It’s rather like being on a yacht, except without the seasickness and the feeling of being hemmed in with other guests and their kids. You are surrounded by sea, but when you stand on the sea-side edge of the pool and look back, you see the dramatic backdrop of the Alpes Maritimes and the Corniche leading to Monaco, just 10 minutes drive away. You can visit Michelin-starred restaurants, drop by the Casino, wander the ancient streets of Eze or Saint-Paul de Vence, and then disappear back into the Club Dauphin for silence and another glass of rosé, please.

It’s so good, you’ll forget all about Instagram.

For more information on Club Dauphin and Grand-Hôtel du Cap-Ferrat by Four Seasons visit: fourseasons.com/capferrat

Spring Place New York: members-only collaborative workspace and social club

Co-working spaces are already well integrated into our urban landscapes. Companies like WeWork provide communal offices for start-ups and self-employed workers whilst the likes of Soho House invite members to use their residences for wining, dining and the occasional signing of a multi-million deal. Spring, however, aims to marry the two by offering physical studio spaces to rent and membership to a network of high profile brands and individuals. LUX Editor-in-Chief Darius Sanai speaks to the co-founder and CEO Francesco Costa about his vision

Francesco Costa

LUX: Can you tell us about the concept of Spring?
Francesco Costa: I see Spring as a brand and an experienced company. It’s a brand that helps other brands and individuals in the luxury and aspirational industries to grow their businesses. We work with already established brands and freelance individuals, and it is the connection between these more established brands, emerging brands, talented young people and established talents that creates a unique environment.

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We now do creative agency production, post production and digital; we have studios, we have event spaces, we have co-work spaces and all of this together means that our clients or members or even our shareholders see us not as transaction opportunity, but as a long term opportunity. We are building a community and as a member of that community you are entitled to certain benefits. For example, we did an Estee Lauder campaign with Misty Copeland, the first African American Female Principal Dancer with ABT (American Ballet Theatre) and then we started working with ABT, and now we are the agency for ABT. We create certain content for them and some programming and then through us ABT got in touch with other brands that they want to sponsor ABT, and that creates further opportunities. That’s how this ecosystem works. Of course, the physical space has a key role because a lot of co-brands are trying to complete this without the investment – by that I mean not just a financial investment but an investment in time and the effort of finding a physical space – and it’s very difficult to do without having a physical hub in New York, Los Angeles, Paris, London, Milan where people can actually meet, where people can create opportunities. I think it is impossible to achieve what we are trying to achieve now.

An example of Spring’s stylish co-working space at Spring Place New York

LUX: When you started Spring, was the intention always to go in this direction? Or did it start more as a studio space that companies could use?
Francesco Costa: It’s interesting because everything started as a real estate investment in New York. Myself and Alessandro Cajrati, my business partner, had the idea to create a studio event space, a hub for fashion. Our partner was Jimmy Moffat, the creator of Art and Commerce, let’s say he was our expert in the field. And then we discovered this company in London called Spring Studios (founded in the late ’90s strictly as a studio space), which we thought could be a good partner – they approached us and we liked their vision.

Read more: 6 Questions with world record-breaking sailor Giovanni Soldini

The music room at Spring Place NY

Robin Derrick had just joined and Robin’s vision was to create content for companies that were functioning in the digital space. Then at a certain point, when the project in New York was growing, we saw that there was a synergy in what we were doing so we merged the two companies (the American investors remain the majority investors). That’s how Spring Studios as we now know it started.

Then a bit later, approximately two and a half years ago, there was a co-worker revolution which attracted a lot of attention – it became a kind of trend – and I thought it was interesting to give a physical space to the fashion community. The fashion community, but also the art community and other communities involved in the business of culture, tend to travel a lot and have a lot of social interactions. Frieze is a good example, or events or fashion shows or dinners that fashion brands put on, but there was no place where you could meet more professionally and during the daytime so I thought that there was a need for this kind of space, a place where CEOs or the head of communications can connect and collaborate with other brands and individuals.

The main dining room at Spring Place NY where professionals can meet and socialise

LUX: How does your business model work? How do you benefit from the collaborations?
Francesco Costa: There two things that I get out of it: one is the attachment to the brand, to the physical space. The co-brand has an advantage working with Spring or being at Spring which brings them closer to us. The second is on the offer and the pricing. For example, we have showrooms that we rent for 2000/3000 dollars a day and we don’t rent for 2000/3000 a day because the real estate is better that the real estate next door which rent for 1000 a day, we rent it at that cost because the odds are that a journalist or a CEO or a famous blogger walks by, sees the product and thinks that it’s worth talking about or engaging with. I actually have a recent example of this. A very small, new shoe brand run by two young women with limited capital, launched their product in one of our showrooms and a buyer for one of the biggest retails was in the space for another meeting at that time. He saw the product, loved it and they signed a multi-million contract. This is what we offer, and this is what I mean about the benefits the community can provide.

Travelling professionals and members of Spring can also make use of the bar area to meet with friends or relax

LUX: Finally, can you tell us a little bit about the brands that work with you and the kinds of projects you might work on together?
Francesco Costa: Of course – Estee Lauder might shoot a campaign in the studio, but that’s just the start. If we talk about our clients for whom we do the production, we have Tom Ford, Marc Jacobs, L’Oreal to name a few. We do their campaigns. Then we have a whole other set of partners or clients for whom we run events. For example, we work with Universal Music, we did the Grammy’s week in January, New York Fashion week twice a year, Tribeca Film Festival, the list goes on.

To learn more about Spring’s studios and events visit: springstudios.com

World record-breaking sailor Giovanni Soldini

Giovanni Soldini is one of the world’s most famous sailors, most recently setting the Tea Route record sailing from Hong Kong to London in 36 days on the Maserati Multi70. LUX Digital Editor Millie Walton caught up with the sailor at the Italian Embassy in London to hear about his most recent adventures 

1. Why sailing?

I had always been interested by the ocean, being out on the water and sailing in general from a very young age. However, the defining moment when I knew sailing is what I had to do for the rest of my life, came when I was 17. I managed to convince an old American captain to take me on his boat, sailing across the Atlantic. We sailed from Palma De Mallorca to Antigua and I’ve never looked back. Not only did I pick up an incredible amount of sailing know-how on that trip, but I also learned to speak English from the captain – it really was a defining journey in my life.

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2.What’s it like sailing alone compared to sailing with a team?

People think that sailing alone must be an incredibly lonely experience, but in all honesty, you don’t have time to be lonely. Your mind is racing at 100mph at all times. There’s so much to consider when sailing solo, so you are constantly focused on not capsizing, maintaining speed, checking directions. I’d love to say that it’s therapeutic and you get a lot of time to think but the reality is that you don’t. Sailing with a team is a different experience – especially when you have such a great bunch of guys as we had in our last adventure. The little interactions with each other keep you going.

The Maserati Multi70 in action during the Tea Route race from Hong Kong to London 2018. Credit: Team Maserati Multi70

3. What makes the Maserati Multi70 Trimaran exceptional?

It’s just such a fantastic boat to sail. The combination of cutting-edge technology, beautiful design and performance engineering mean that I have the best possible trimaran at my disposal – much like you would have when driving a Maserati car. It is a truly unique boat for ocean racing, with its ‘Manta’ foil that keeps the boat horizontally stable when we are up at speeds of over 40knots out of the water. The adrenaline you feel at these speeds, when you are virtually out of the water flying apart from the rudders is incredible and is a feeling I haven’t been able to replicate elsewhere – except from maybe on a racing track in a Maserati.

4. What’s been your most challenging race to date?

Definitely the two Round Alone races because they were just so hard on the mind and the body. Each regatta has its own challenges anyway, they are all different and unique. The last record, along the Tea Route was very difficult because there were so many unknown factors to take into account and no matter how well you plan in advance, there is always something unforeseen happening and you just have to react as best as you can. When we broke one of the rudders we immediately went to change it (luckily we had decided to take a spare one on board) in the open sea. But not for a moment we let ourselves go, we had to find a way to carry on and beat the record and thankfully we did.

Read more: Model, actress and director Florence Kosky on mental health and women in film

5. You’ve broken so many records — what’s your ultimate ambition?

When I am doing something I am fully dedicated to it. So with Maserati we are currently doing a lot of research and development with the ultimate goal of creating the best trimaran for the Ocean. In the Autumn, after spending the Summer doing Drive&Sail Events we will start racing again.

Maserati Multi70 on the Tea Route from Hong Kong to London 2018

6. How do you relax when you’re not at sea?

I am always thinking about sailing, even when I am not on the water. I constantly imagine my next challenges or when I can next get out on the water. My family would tell you I never think about anything other than sailing. When we like to relax or go on holiday with my children, it is usually a sailing holiday – although definitely more relaxing than my cross-channel sailing challenges.

For updates on Giovanni Soldini and the Maserati team visit: maserati.soldini.it

London based model, actress, filmmaker and Mental Health Foundation ambassador, Florence Kosky

Charlie Newman

LUX’s model of the month series is back with new contributing editor Charlie Newman. Charlie is a model with Models 1 and has starred in numerous international fashion campaigns. She also works as a journalist and in the relaunch of this exclusive online series, she interviews her peers about their creative pursuits and passions

THIS MONTH: British model Florence Kosky is no ordinary 22 year-old. Since being scouted by Models 1 at the tender age of 16, Florence (known as Flo by her friends) has walked the catwalk for the likes of Dior and Dolce & Gabbana, starred in the Burberry AW 2015 campaign shot by Mario Testino, and studied at The New York Film Academy and the Met Film School. She is also an ambassador for the Mental Health Foundation, and earlier this year she released All the World’s a Stage, a film dealing with youth depression.

Charlie Newman: How easy was the transition from model to director/filmmaker? Did you feel as though you had to prove yourself that bit more or were you welcomed into the film industry with open arms?
Florence Kosky: Generally I think people have been very welcoming – I’m luckily working in a time where there is not only a momentous shift in the film industry for female voices to be heard, but also whilst there is a movement happening within fashion for models to be more than just a face for a brand. You know, people like Adwoa Aboah and Teddy Quinlivan are using their platforms to speak loudly about stuff that’s important to them, and people are listening! So it’s kind of great for people like me because it’s already tried and tested that we are more than just pretty faces.

Obviously though, there’s been a bit of pushback – I have actually been on my own sets and people have come up to me and been like ‘oh yeah so you must be art department’ or ‘oh so you’re one of the actresses’ when I’m directing and it’s a bit frustrating to have those snap judgements made because of my age and gender and what I look like, but I think the best thing to do to fight those assumptions is just be as polite and professional as possible, whilst making really great art.

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Charlie Newman: If you could cast anyone who and why?
Florence Kosky: That’s such a hard question! There’s so many incredible actors I would love to work with. I think predominantly for me it’s people like Jessica Lange and Mark Rylance, the older generation of ferocious actors who are just captivating to watch and so fully embody their characters that you forget you are watching them. Although, there’s a young British actress called Florence Pugh who I think is incredible – I saw Lady Macbeth with her in and she just has this strength and stillness that I think is really wonderful. I’d love to work with her.

Watch Florence Kosky’s short film All the World’s a Stage below:

Charlie Newman: If you could pick anyone to design your costumes who and why?
Florence Kosky: So actually one of my oldest friends from Dorset, Pandora Ellis, has also recently started in the film industry as a costume designer! And she’s fucking brilliant! She did all the costumes for All The World’s A Stage and The Otherworld and just smashed it. I couldn’t really think of ever using anyone else – we’re both massive fantasy and sci-fi nerds and it’s so lovely to work with someone who just understands how your brain works. The only way I could see myself deviating from this is if there was a specific character who only dressed in a certain designer or something – kind of like Tilda Swinton‘s character wearing only Dior by Raf Simons for A Bigger Splash.

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Charlie Newman: How would you describe the aesthetic of your films? Do you have any particular inspirations within the industry?
Florence Kosky: I would say my aesthetic is very stylised. I like things to be hyper-real and full of colour. I use a lot of dancing and silhouetted figures and I like to have natural elements in my work, like the stars or water or flowers (or sometimes a combination). I guess you could say it’s quite girly, I grew up on fairytales and then got lost in Tumblr and Pinterest as a teenager and then have worked in fashion for nearly five years so there’s definitely a soft prettiness that I’m drawn to and have always been… it’s hard to sum up really but I guess if I had to I would say it’s dreamlike. From the film industry, I’d say visually I draw the most from Wes Anderson, Guillermo Del Toro, Nicolas Winding Refn and David Lynch and then from fashion I’ve always loved Tim Walker‘s aesthetic and more recently Petra Collins and Charlotte Wales.

Florence Kosky for All Saints. Instagram: @floskyyx

Charlie Newman: In light of the #MeToo movement, you work in the midst of two industries that are being lambasted in the media. Is there anything you would personally like to see change in the film and fashion industry?
Florence Kosky: I’d like more protection for models. The girls who are working a lot of the time are still practically children and I think it’s dark that more often than not they don’t even have somewhere private to get changed and if they complain they’re branded as ‘difficult’. I’d like agencies to stop sending girls out on go-sees to photographers who they KNOW have reputations for being creepy or persistent just because they take nice photographs. There’s a lot of people out there who take nice photographs and to be honest, I don’t think having a pretty picture in your book is worth being harassed via instagram DM by a photographer or stylist or whatever for months or years to come!

With regards to the film industry, it would be great if twenty-something-year-old dudes writing their first script could avoid chucking in sex or shower scenes just because they want to make it racy. It’s gratuitous and boring to watch. If it serves the narrative then, fine absolutely, I get it, but otherwise it just pisses me off because there’s no point and it just adds to the objectification of women, and for a lot of young actresses that is their first experience of a set and it’s just shitty, especially if the director isn’t experienced, it’s putting people in a vulnerable situation without the correct tools to make sure they’re okay just to give a ‘gritty’ feel to your film.

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Charlie Newman: Huge congratulations on your film All the Worlds a Stage that shone a light on the perils and understanding of depression. As an Ambassador of the Mental Health Foundation, how do you think we can implement awareness and help day to day, especially in schools?
Florence Kosky: Thank you! I think there’s a responsibility that parents and schools have to educate their children about mental health and suicide. PSHE lessons provide a really good platform to educate young people about mental health and suicide and I do think that there is actually traction there – the government announced a Green Paper on mental health last year so hopefully we’re going to see a bigger push in education about these issues.

I think it’s crucial that conversations are opened up at a young age as school aged children are at risk – 200 kids a year die by suicide in the UK and so we really have to do something about it to save those young lives. The first step to prevention is awareness and the creation of safe spaces where these children know that it’s okay to speak about mental health and feel comfortable asking for help when they need it. Aside from education though, I think on a personal level it’s important that we remember to just be kind to one another. If you think your friend is struggling, text them and tell them you love them! Go round their house and watch a movie and bring them snacks! Send someone a song that reminded you of them! The littlest things can mean the most to someone whose feeling alone.

Florence Kosky for Harvey Nichols. Instagram: @floskyyx

Charlie Newman: What’s next for you?
Florence Kosky: I’m actually working on my first feature which is terrifying but very, very exciting. I’m still working on the script at the minute with another writer, the wonderful Josh Willdigg. It’s a fantasy film that deals with mental health, sexuality, feminism and summoning demons! It’s quite a bit darker than my previous work but I’m very excited to get into development.

Charlie Newman: Lastly, who’s your role model of the month?
Florence Kosky: My role model of the month is my good friend Amber Anderson. She’s a beautiful model, a talented actress and one of many women who accused Harvey Weinstein. She has been a bit of a SHERO for me the past 6 months by giving up her time and working on All The World’s A Stage and helping me share its message when it was released. She’s also helped me personally by giving me someone to speak to about my own experiences with sexual assault, whilst maintaining a good sense of humour and a talent for cooking vegan shepherd’s pie. Soppy, but I am grateful to have her in both my professional and personal life!

Find Florence Kosky on Instagram: @floskyyx