Ride of Your Life

What could be better than a luxury cycling trip on a sultry Mediterranean island. One where your biggest hero in the sport is right alongside you.

By Ben Oliver 25/11/2024

It’s a balmy afternoon, and I’m riding my bike around an idyllic island in the Mediterranean. I keep glancing at the cyclist next to me—partly to make conversation but also to check that he’s really Geraint Thomas, winner of two Olympic gold medals, three world championships and a Tour de France. I can’t quite believe my luck: I’m wheel to wheel with one of the sport’s greatest living athletes, and to top it off, he has a bruising hangover, enabling me to keep pace with him as if I were a pro. And yet, this extraordinary experience was not that hard to achieve. 

Want to shoot hoops with Stephen Curry, have a kickabout with Lionel Messi or face a few fast bowls from Pat Cummins? Get ready to write a sizeable cheque. The opportunity to rub shoulders with your sporting heroes—whether as part of a fantasy-camp afternoon or, for truly unfettered access, by buying the teams they play for—comes neither easy nor cheap. 

Ibiza’s Cala d’Hort beach, with the mythologized Es Vedrà island in the distance. Amokliv/Getty Images/iStock

The exception, it seems, is cycling. Consider my recent long weekend on Ibiza with Thomas. I might also have joined Eddy Merckx, the Pelé of cycling and probably the greatest rider ever to have turned a pedal, or six-time Olympic gold medalist Sir Chris Hoy, or any one of a litany of elite athletes who have rolled out side by side with guests on a LeBlanq tour. 

Founded by British former pro cyclist–turned-entrepreneur Justin Clarke, LeBlanq aims to provide superior holidays on two wheels and is part of an explosion of start-ups and buyouts in the multibillion-dollar luxury cycling space. It offers around a dozen itineraries each year, in regions with spectacular scenery—such as the Norwegian fjords and the Scottish Highlands—and particularly those with an oenological link, such as Champagne in France, Spain’s Rioja and Constantia Valley in South Africa. On each trip you’re guaranteed at least one titan of the sport, a luxury hotel as accommodation and a wellness program for those in attendance but not cycling. A superstar DJ may headline the post-ride party, and there’s always a celebrity chef providing nutrition more appealing than the vast quantities of rice that pros typically cram down during a race. 

2018 Tour de France champ Geraint Thomas edging out retired pro Johan Museeuw, the 1996 road-racing world champion, for the lead.
Richie Hopson

Before starting LeBlanq in 2020, Clarke built the Taste food festivals, which showcase the work of the best fine dining restaurants in 19 cities around the world (it has since been sold to IMG), and his contacts run as deep in gastronomy as in cycling: Michelin-starred chefs Nathan Outlaw and Angela Hartnett, among many others, have cooked for LeBlanq guests. And here gluttony is justified, with depleted riders needing to fuel up on all that sensational food after burning thousands of calories on the road and in preparation for the following day’s outing. Plus, assuming you don’t have too bad a hangover, alcohol is useful as an extra carbohydrate. 

Cycling has always been a democratic, accessible, mass-participation sport. Its recent surge in popularity around the globe has been driven by its health and environmental benefits; and involvement also flourished during Covid shutdowns, when gyms were largely off-limits. The activity is almost unmatched in its ability to let you sustain a high heart rate and burn more calories for long periods, and its metronomic, meditative qualities have been shown to be good for your mental health as well: riding with friends is social; riding alone brings solace. But while the advantages of the sport are universal—and entirely unrelated to the price of your bike—those enthusiasts willing to spend can majorly amplify what can quickly become an addictive and all-consuming pastime. For example, while you can’t buy a current F1 car, you can purchase a bike nearly identical, save a few prototype parts, to that of a Tour de France winner. Or you can engage a custom builder to create a model tailored to your precise dimensions, colour preferences and specifications—like a Savile Row suit, but far more expensive. (An elite commissioned machine can run from around $15,000 to upwards of $40,000.) You can wear stylish cycling gear created by Sir Paul Smith while riding it (the British designer once aspired to compete professionally, before injuries sustained in a major accident derailed those ambitions and he moved into fashion). Beyond LeBlanq’s offerings, you can book other operator’s trips that let you pedal across frozen Mongolian lakes or the game reserves of Botswana’s Okavango Delta. 

A recent analyst report estimates that the market for luxury cycling will increase by a third, to around $29 billion, over the next five years. The poster child for this booming sector is luxe clothing brand Rapha, founded in London in 2004; a private equity firm run by Walmart heirs Tom and Steuart Walton, themselves keen cyclists, bought a majority stake in 2017 for about $395 million. Similar deals continue. Last year, mining billionaire Ivan Glasenberg, another devotee, paid an estimated $383 million for controlling interest in high-end Italian bike brand Pinarello, a name as resonant to cyclists as Ferrari and Maserati are to motorists. 

Despite the enmity that some (erroneously) perceive between those two tribes, the luxury car marques are eager to be part of the cycling surge: smart brands go where their customers are, and these customers are increasingly out on their bikes. Which explains why Aston Martin and Lotus each launched radical, innovative bikes—costing far more than even Geraint Thomas’s Tour-winning Pinarello—at the Rouleur Live cycling show in London late last year. And why, along with Rapha, Marqués de Riscal wine, Laurent-Perrier Champagne, InchDairnie Distillery and Bianchi bikes, both Aston Martin and Porsche have partnered with LeBlanq to provide the “team” cars that follow each group of riders with supplies and spare bikes. 

Pouring a post-ride glass of Champagne Andrew Grant

In my 30 years as a journalist, this was the first time I needed to train for a story. I signed up to ride at LeBlanq’s event on the Spanish island of Ibiza alongside Thomas, who at 37 remains a contender for the great prizes of the sport, having only lost his lead in last year’s Giro d’Italia on the penultimate day. Just before flying to Ibiza, he announced that he would compete on billionaire Sir Jim Ratcliffe’s INEOS Grenadiers team for another two years. 

Thomas is a world-class professional athlete performing at the pinnacle of one of the toughest endurance sports. I am, well, not. What on earth was I thinking, agreeing to ride with him? I’m 49. I’ve cycled semi-seriously since I was 12 and was a solid midrange finisher when I competed for a while in my teens; I gave up after realising that racing hurt, and that I was no good at it. Now, even with no trophy or purse at stake, I feared the humiliation of being “dropped”—parlance for getting left behind—not only by Thomas but by the hyper-alpha, ultra-fit bankers and lawyers I imagined to be the clientele at a LeBlanq event. 

Writer Ben Oliver (right) keeps pace with cycling great Geraint Thomas.
Andrew Grant

So I trained for three months, shedding more than five kilos and getting my power and pace up slightly. I thought I’d better upgrade my bike, too, so I called German maker Canyon, the Porsche of cycling, whose bikes I’ve owned for years. The Canyon folks saw my predicament, agreed that my eight-year-old model wouldn’t cut it, and instead loaned me an Ultimate CF SL Disc 8.0 Aero. It’s similar to the machine favoured by Thomas’s Tour rivals on the Movistar and Alpecin teams (the Aeroad CFR Di2, priced at about $15,000) and was the Financial Times’s “best race-oriented bike” of ’23, but at around $10,500 costs a lot less than his roughly $23,000 team Pinarello Dogma F. To quote Lance Armstrong, it’s not about the bike, but I figured I should take all the help I could get. 

I needn’t have worried. I arrived at the beachfront Hotel Riomar in Santa Eulalia, which LeBlanq had taken over in its entirety, and immediately had the new bike whisked from me and brought to the secure service area, where LeBlanq’s mechanics checked it over, added a race-style plaque with my name and rider number under the seat, and hung it on the racks in the company of what was probably well over a million dollars’ worth of bikes that had been flown in from the US, the Middle East and Europe by the 120 other participants. 

A Bianchi bike
Andrew Grant

Inside the hotel I was handed my Rapha x LeBlanq team gear and a bag of energy bars, gels and drinks for the four days of cycling. So far, so pro. But then someone pressed a glass of Laurent-Perrier into my hand, and then someone else topped it up, and I began to realise that for all LeBlanq’s race-ready image, the reality might be a bit more like a fun run through Centennial Park—if you want it to be, anyway. 

Riders are split into groups of 10 to 12 each based on ability and likely speed. Each is led by someone very experienced, often an ex-pro, who takes care of the directions and pace, with a support car following. For the short opening jaunt of around 30 km, I decided to roll with the gentlest squad, led by the effervescent former racer Monica Dew, who ensured that the members of her pleasingly mixed group never felt stretched. (The pros trade cohorts over the course of the weekend so everyone gets a moment to bask in their reflected glory.) There were participants of all ages and abilities, some wearing running shoes rather than the clip-in cleats favoured by the more hardcore, and some on battery-assisted e-bikes. 

Cycling leaders Adam Blythe, Monica Dew, and Johan Museeuw kick back
Andrew Grant

A significant part of the appeal of such events is the experience of riding in a peloton. Having others around you deflects headwinds, reducing the effort required to maintain a given speed by up to 40 percent. You find yourself being sucked along by the group, feeling like a pro, going faster than you ever could on your own while comfortably holding a conversation with the person next to you. 

And what chats. Wearing the same bib is a great leveller, and the collaborative nature of a group ride means confidences are quickly shared. As well as the expected doctors, executives and pilots, I found myself moving with the founders and funders of tech firms, a world-leading cybersecurity expert, a man my age who’d had a heart attack just a year before, a couple who’d taken a previous LeBlanq trip for their honeymoon, and the arena-filling British DJ Pete Tong, perhaps best known for exporting house music to the world. Another turned out to be Nick Evans, managing partner of private equity firm Active Partners, chairman of Rapha, and the guy who gave luxury cycling its defining moment by brokering that $395 million sale to the Waltons. 

DJ Pete Tong Richie Hopson

The exchanges were so good and the concentration required to keep up in a fast, tight, well-disciplined group so intense that I needed to remind myself to look up and absorb the extraordinary scenery. Ibiza’s rural roads are mostly well surfaced and lightly trafficked. Temperatures in the mid 20s were perfect for cycling, and the air was scented with the pine needles that lay in piles at the edge of the road. There were few serious climbs—just enough to keep things interesting—and they often rewarded with a view over yet another deserted, pine-fringed beach and the azure Mediterranean beyond. 

For non-riding partners or those taking a day off, Northern Irish TV sports presenter and former track-and-field athlete Orla Chennaoui had curated a comprehensive wellness program with sunrise yoga sessions, breath-work classes and restorative hikes through the local hinterland. But Ibiza is perhaps better known for the un-wellness programs of its nightlife, and a bit of that attitude permeated the LeBlanq trip, with some very well-lubricated after-ride fetes. My partner, Sophie, not a cyclist and there ostensibly for the yoga, got us on the guest list for the season-closing party at Pikes, Ibiza’s original boutique hotel and still a hedonist’s playground, in whose swimming pool Wham’s “Club Tropicana” video was filmed in 1983. I demurred, extremely reluctantly, as I was due to join a faster group for 160 km with Thomas the next day. My alarm was set for 6:45 a.m., and I didn’t want to wreck three months of training with one night of clubbing. 

Orla Chennaoui leads a mindfulness session.
Richie Hopson

Thomas, however, did not decline. In a later interview with The Times in the UK, he admitted to having been drunk for 12 out of 14 nights during his brief post-season break from racing and training; we were responsible for two of those. He finally rolled back in from Pikes at 5 a.m., and a couple of LeBlanq guests gleefully claimed that they’d not only biked with their hero but shared a drunken dawn cab ride with him. 

Despite the colossal respect he commands, he was given an amused, ironic, slow handclap when he appeared well past the start time that morning. But even when you know he has slightly disabled himself, there’s something eerie and disconcerting about standing in your kit astride your bike, ready to set off, when a world champion and Tour de France winner appears dressed in the same INEOS team uniform and those hallmark white shades you’ve watched him wear on television for years. Imagine standing by the side of your local swimming pool, putting on your goggles, and seeing Ian Thorpe appear in the lane next to you. 

Again, I needn’t have worried. Usually a very funny, voluble, sometimes indiscreet character, Thomas was unusually quiet in the opening kays, hanging his head over his handlebars every time we stopped. “Oh Ben,” he sighed at one point, “what I did last night… I just don’t know if it was worth it.” 

The conversation improved as his hangover cleared. He enjoys the lifestyle of a major sports star—the house in Monaco, fine taste in watches, and a Porsche 911 Turbo his wife bought him as a birthday present—but he remains connected to his Welsh roots and retains a surprising degree of impostor syndrome for a man who has won so much. 

“I just take it for granted that I can come along and ride my bike in amazing places,” he told me as we pedalled. “But then you realise that people have paid a lot of money to do this, and it’s weird that they want to do this with me, even though I know I’ve won some stuff. But cycling’s always been accessible like that. You don’t need a ticket to watch the Tour de France. You can just stand by the side of the road and watch us ride past, and even touch us. When I was 14, I went to the Netherlands to watch a race. One of the big teams rode to the start line from their hotel, and me and my mates just rode with them. I’ll always remember that. And the thought of people wanting to do that with me now, it’s mind-blowing.” 

Yes, well, same for those riding with Thomas. Even dozens of kilometres into the morning, it was still surreal to see those white shades centimetres away from me, and I admit that I asked for a selfie. I took some pride in the fact that he got out of the saddle when I did on climbs and also dropped down to his lowest gear. But then I noticed that, as we spoke, I was struggling to get my words out between breaths while “G” (as he’s universally known in the sport) might as well have been sitting in an armchair. “You could have raced me if you’d wanted to,” he told me later. “After that 5 a.m. finish, I’d have let you win.” 

That night, our last, he’d recovered sufficiently to fully enjoy the long weekend’s premier party, held at a rooftop bar and pool with spectacular sunset views of the sea. Nieves Barragán Mohacho, the Michelin-starred head chef at London’s buzzy Spanish restaurant Sabor, had flown in with her brigade to give the crowd what they wanted: carbs, mainly, in the form of the perfect tortilla (there was one more ride to be done the next day) but also bluefin tuna loin and the most incredible acorn-fed bellota pork, marinated in sherry until it had acquired an almost beef-like colour and richness. 

Then Pete Tong, who opened King Charles’s coronation concert and whose Ibiza Classics orchestral tour later played London’s O2 Arena, spun a private set for the hundred or so of us still up and boogying. For fans of Ibiza’s sun-soaked electronic dance music, this was a moment as seminal as riding with Thomas. I just couldn’t work out how, with all the cycling and dancing, I stepped on the scale when I got home and found I’d put half of those five kilos back on again. 

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Omega Just Unveiled 9 Watches in Its New Constellation Observatory Collection

The line-up shows up a bevy of metals and colours, too, as well as two new calibres.

By Nicole Hoey 31/03/2026

Omega’s latest watch is in a universe of its own.

The Swiss watchmaker just unveiled its new Constellation Observatory Collection today, the next step in its Constellation lineage and the first two-hand hour and minute timepieces to ever earn Master Chronometer certification. And if you were paying attention to any of the dazzling watches spotted at the Oscars this year, you would’ve caught a glimpse of the new line already: Sinners star Delroy Lindo rocked one of the models on the Academy Awards red carpet, giving us a pre-release preview of the collection.

Developed at Omega’s new Laboratoire de Précision (its chronometer testing lab open to all brands), the collection houses a set of nine 39.4 mm watches. The watches underwent 25 days of scrutiny there, analysed via a new acoustic testing method that recorded every sound emitted from the timepiece to track irregularities, temperature sensitivities, and more in the name of all things precision. (Details such as water resistance and power reserve are also thoroughly examined.) This meticulous process is all in the name of snagging that Master Chronometer label, meaning that the timepiece is highly accurate and surpasses the threshold for ultra-high performance. The Constellation Observatory Collection has now changed the game, though, thanks to its lack of a seconds hand.

A watch from the Constellation Observatory Collection, with the Observatory dome on display. Omega

“Until now, precision certification has required a seconds hand,” Raynald Aeschlimann, president and CEO of OMEGA, said in a press statement. “The development of a new acoustic testing methodology has made that requirement obsolete. It is this breakthrough that has enabled us to present the Constellation Observatory, the first two-hand watch to achieve Master Chronometer certification.”

In addition to notching its place in history, the collection also debuted a new pair of movements: the Calibre 8915 and the Calibre 8914, each perched on a skeletonised rotor base. The former’s Grand Luxe iteration will appear on the 950 Platinum-Gold model in the collection, which offers up that base in 18-karat Sedna Gold alongside a Constellation medallion in 18-karat white gold with an Observatory dome done in white opal enamel surrounded by stars. The second Calibre 8915, the Luxe, will find its home on the other precious-metal models in the line, either made with the brand’s 18-karat Sedna, Moonshine, or Canopus gold seen across the case, the hand-guilloché dial, and, of course, the movement itself. (Lindo chose to rock the Moonshine Gold on Moonshine Gold iteration, priced at approximately $86,000, for Sinners‘s big night at the Oscars.) As for the Calibre 8914, it can be found in the collection’s four steel models.

 

Omega Constellation Observatory Collection
A look at a gold case-back from the collection. Omega

Each model is a callback to myriad design features on past Omega models. That two-hand dial, for one, comes from the 1948 Centenary (the brand’s first chronometer-certified automatic wristwatch), while the pie-pan dial (seen in various blue, green, and golden hues throughout the line) and that Constellation medallion caseback both appear on watches from 1952. The star adorning the space above 6 o’clock also harks back to 1950s timepieces from Omega. And to finish off the look, you can opt for alligator straps in a variety of colours, or perhaps a gold iteration to match the precious-metal models; the brick-like pattern on the 18-karat Moonshine bracelet was also inspired by Omega watches from the ’50s.

We’ll have to keep our eyes peeled for any other Constellation Observatory timepieces (or any other unreleased models from the brand) at the rest of the star-studded events headed our way this year—perhaps the Met Gala?

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Inside Loro Piana’s First Sydney Boutique

A first Australian address brings the Italian house’s textile-led approach to retail full circle.

By Horacio Silva 26/03/2026

On the fourth floor of Westfield Sydney, near the Castlereagh and Market Street entrance—in the space formerly occupied by Chanel—Loro Piana has opened its first Australian boutique. It is a significant address change for that corner of the mall, and a meaningful one for the Italian house, which has sourced Australian merino wool for decades but until now had no retail presence here.

The facade is understated—creamy, tactile, more about texture than theatre. Inside, the store unfolds across a single, expansive level divided into distinct men’s and women’s wings. The separation is clear without being heavy-handed: womenswear leads from soft accessories and leather goods into ready-to-wear, while menswear occupies its own assured territory, with tailoring and outerwear given proper breathing room. Footwear (supple loafers, luxurious slides, pared-back sneakers) is particularly strong, and the sunglasses are a quiet standout: mineral-toned frames with a disciplined elegance that feels entirely of the house.

That same restraint carries into the interiors, where the surfaces do much of the talking. Walls are wrapped in the company’s own linen and cashmere; carpets are custom, dense underfoot, softening the acoustics and the pace. Oak and carabottino wood add warmth without fuss; marble accents introduce a cool counterpoint. The effect is a composed space calibrated around material, proportion and restraint.

The Spring 2026 collection now in store underscores that sensibility. Silhouettes are elongated and fluid; cashmere, silk and featherweight merino move in sandy neutrals, creams and muddied earth tones, with flashes of marigold and pale turquoise breaking the calm. Tailoring is softly structured and projects confidence without aggression. Leather goods arrive in buttery skins that feel almost pre-lived, as though time has already worked its magic.

What distinguishes Loro Piana, particularly in a market that has grown noisier by the season, is its refusal to perform luxury in an obvious register. There are no oversized insignias telegraphing allegiance. Instead, the status is encoded in fibre count, in hand-feel, in how a coat hangs from the shoulder. It assumes the wearer knows and, crucially, does not need to announce it.

Sydney’s luxury landscape has matured in recent years; global houses no longer test the waters but commit to them. Yet Loro Piana’s arrival feels different. It is not trend-driven expansion but material logic. For a country whose sheep stations have long contributed to the house’s fabric story, this boutique reads almost as a thank-you note written in cashmere.

 

Photography: Courtesy of Loro Piana.

 

 

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This Stylish, Water-Resistant Dopp Kit Might Be the Last One You Ever Buy

Patricks’s limited-edition wash bag is designed to keep liquids in and out, so it can come along wherever your travels take you.

By Justin Fenner 11/03/2026

If all you’re going to do is look at it, a leather Dopp kit from a fashion house is a fine choice. But if you take travelling seriously—and do it often, for business, pleasure, or both—such a bag will inevitably end up blemished with droplets of water or stained by errant flecks of toothpaste. Get stuck with a cavalier team of baggage handlers, and it can even get soaked in your favourite fragrance or anti-ageing serum.

But Patricks, the high-performance Australian grooming brand stocked in Harrods and Bergdorf Goodman, has a solution. Its limited-edition bathroom bag, called BB1, is purpose-built to protect everything inside and out. Conceived by industrial designer George Cunningham with brand founder Patrick Kidd, the cuboid design is executed in a water-resistant recycled nylon you can rinse clean. It’s lined with a thin layer of shock-absorbing foam to safeguard your products, but if a bottle somehow gets cracked in transit, the two-way water-resistant zippers and sealed seams (which keep liquids from seeping in or out) ensure that whatever leaks won’t ruin your cashmere. Inside, two dual-sided zippered compartments are ideally sized to fit toothbrushes, razors, and other small essentials.

And though its clean lines and rugged construction make it undeniably masculine, its greatest feature is borrowed from women’s makeup bags. Like the best of these, BB1 unzips to lie flat, giving you unobstructed access to everything inside. Well, you and the 999 other gentlemen who move fast enough to snag one. $289

Courtesy of Patricks

1. Hanging Loop 

The G-hook system isn’t just a stylish handle: You can also use it to hang the bag from a hook or secure it to your carry-on.

2. Two-Way Zipper

The closures are water-resistant in both directions, meaning liquids won’t get in or out.

3. Fold-flat Construction

BB1 opens to 180 degrees, letting you scan its 4.2-litre capacity at a quick glance.

4. Technical-Fabric Shell

The durable recycled-nylon is easy to maintain and woven to survive splashes and leaks from your go-to products.

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You Can Now Place Bets on the Future Prices of Rolex Models

And which models will get discontinued next, thanks to a new collaboration between Kalshi and Bezel.

By Nicole Hoey 11/03/2026

You can bet on pretty much anything these days, from when Taylor Swift and Travis Kelce will get married to who will be the next James Bond—and now that includes the Rollies on your wrist, or on your wishlist.

Prediction market platform Kalshi, regulated in the U.S., and luxe watch marketplace Bezel have teamed up on a new platform called Watch Futures that allows users to splash down cash on where they think the prices of a particular luxe timepiece are going, whether that’s a Rolex Submariner or a coveted Patek Philippe, Time & Tide reported.

You can also place a wager on which models might be discontinued, as well as any future launches from the top watchmakers on the new platform; with Watches and Wonders coming up, it’s certainly a well-timed launch that could see a lot of activity as a slew of new releases are announced at the event.

Watch Futures is all based on Beztimate, Bezel’s system (once used only internally) to help it accurately calculate the market price of a timepiece. It draws data from real-time transactions, live bids, verified sales, and other market offers to spawn its own series of independent valuation models to establish a watch’s value. From there, it’s up to bettors to place their wagers, and then the platform will showcase any price fluctuations or other updates as time goes on.

This new platform could have some pretty large implications for the watch industry.  As any horological savant would know, the internet and collectors alike are constantly chattering about which models are on the way out or when a certain timepiece of the moment’s time in the limelight will fade, of course, having a large impact on the prices of said model. And now, a Watch Futures user can have a direct stake in where a model is headed—and if they own said timepiece, it can be a protection from dwindling values on the marketplace, say, if a user places a bet on their model losing value and that actually comes to fruition.

To see Watch Futures in real time (and scope out how some pieces in your collection are faring), you can use the Kalshi app or its website.

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Mauve on Up

Brisbane boutique stay Miss Midgley’s offers a viscerally human experience—especially if you dig pink.

By Horacio Silva 17/12/2025

On a sun-bleached corner of Brisbane’s New Farm, where the scent of frangipani mingles with the clink of coffee cups, stands a building that has lived more lives than most people. Once a premier’s residence, an orphanage, a hospital and a private school, the 160-year-old stone structure now finds itself reborn as Miss Midgley’s—a boutique stay that teaches a masterclass in how to make heritage feel modern.

Designed and run by architect-mother-daughter duo Lisa and Isabella White, Miss Midgley’s captures the cultural confidence of a city in bloom. Nowhere is that new confidence more visible than along James Street—the leafy, slow-burn heart of the city’s fashion and dining scene—where Miss Midgley’s sits quietly at the edge, its shell-pink façade glowing in the subtropical light.

Built of Brisbane’s rare volcanic tuff, the building’s soft mauves and pinks are more than aesthetic; they are its identity. Locals still remember its 1950s incarnation as the Pink Flats, and the Whites have honoured that legacy with a contemporary blush-toned exterior, chosen to harmonise with the stone’s peachy undertones. Inside, those hues continue in dusty terracottas, russets and the faint shimmer of brass tapware. “Design can’t afford to be for the sake of fashion,” Isabella White has said. “It has to respond to what’s in front of you.”

That sentiment is tangible in every corner. Five apartments, each with their own idiosyncratic floor plan, occupy the building. Ceilings bloom with heritage plasterwork, 19th-century wallpaper fragments have been preserved in the kitchens, and tiny hand-painted notes left by the architects point out original quirks: a misaligned beam here, a hidden archway there. It’s a kind of adult treasure hunt for design lovers, where discovery feels personal and unforced.

Even the picket fence, a heritage requirement, has been reimagined in corten steel—a sly nod to regulation turned into sculpture. It’s this blend of reverence and rebellion that gives Miss Midgley’s its edge: heritage without starch, nostalgia without sentimentality.

True to Brisbane’s easy elegance, luxury here is measured not in marble or minibar but in proportion, privacy, and personality. Each apartment—from the Drawing Room and the Assembly Hall to the Principal’s Office—is a self-contained sanctuary with its own kitchen, large bathroom and outdoor space. The ground-floor units open onto leafy courtyards and welcome small dogs; upstairs, the larger suites spill onto verandahs shaded by jacarandas.

At the heart of the property lies a solar-heated pool hemmed with tropical greenery and fringed umbrellas—more mid-century Palm Springs than colonial Brisbane. Around it, guests share a petite laundry, a communal library and that rarest of urban luxuries: a car park per apartment. The atmosphere is quietly collegiate—a handful of travellers who might nod to each other on the stairs but otherwise inhabit their own creative bubbles.

The hotel’s namesake, Annie Midgley, lends the project both its name and its spirit. An ambidextrous artist and teacher, she famously instructed two students at once, writing with both hands simultaneously—a fitting metaphor for the dual vision the Whites bring to the building: one hand rooted in history, the other sketching toward the future. “Not famous, yet known,” goes the property’s understated tagline—and indeed, Miss Midgley’s has quietly become that most desirable of addresses: the one whispered about by people who know.

Sustainability isn’t an accessory here; it’s structural. The adaptive reuse of the heritage building is its boldest environmental act. Solar panels power the property; an electric heat pump warms the pool; recycled decking and tiles frame the courtyard. The metre-thick tuff walls regulate temperature naturally, and the amenities follow suit—refillable bath products, biodegradable pods, Seljak blankets spun from textile off-cuts, and compendiums wrapped in Australian-made kangaroo leather. It’s slow luxury in the truest sense.

In a world of carbon-copy hotels, Miss Midgley’s feels deeply human—a place where history isn’t curated behind glass but lives in the warmth of stone and the flicker of afternoon light. The lesson it offers is simple and resonant: that the most elegant modernity often comes not from reinvention, but from listening to what’s already there.

 

 Miss Midgley’s

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