The Modern Jetsetter is a love letter to English heritage. Inside Volume 1 they visit Cliveden House (from the beautiful gardens to the old wall of bells in the staff quarters), wander around Chatsworth library, pay tribute to Prince Phillip and take tea with some modern nobility. A little while ago, we chatted to maker and editor, Kortney Gruenwald about the mag...
Hello Kortney! So, where did your love of England come from?
It’s rather a mystery as I can’t remember an exact moment in life when it started; the love always existed. I was born worlds away on the West Coast of America, so my best hypothesis is that the love of England lived inherently somewhere in my bones alongside a calling to Europe – one born as a child on a trip to Italy to visit my grandmother’s family. I followed that calling across the Atlantic rather dutifully my whole young adult life, studying in London whilst in university and thereafter, spending time working as an editor in Germany for the British market. Eventually life just conspired generously to bring my heart home to it all. My husband and I are now happily settled in England, and I can’t really remember life any other way.
Can you tell us a bit about how The Modern Jetsetter came about?
The Modern Jetsetter is a title borrowed from a long-retired blog of my bygone 20s. I remember the frequency of being told “that sounds like the name of a magazine” – little known that years down the road, the title would be used for just that. The words are ones where new meaning can always be rediscovered and felt synonymous with the British penchant for adventure. The Modern Jetsetter strikes emotions of a sensible traveller who always has one foot in sophistication and the other in gumption; a sensible reader grounded in home soil yet undeniably worldly; a spirit with an air of modern regality who aims to better the world around; a jetsetter devoted to both tradition and the contemporary writing of today. The versatility of these words is the reason I didn’t spend much time fussing on the name of the magazine. I simply wanted to get started, so borrowed what felt very much meant to be.The Modern Jetsetter is a title I knew we could grow with as a publication and small publisher, as hopefully every reader can see themselves in those three words as we move toward a sustainable way of living and travelling.
What kind of stories do you aim to tell in The Modern Jetsetter?
Our aim in creating any story is for that story to endure as sustainable enchantment. Much like our title, my hope is that readers can depend on opening our pages both upon that first read and years down the road to spark new curiosities, and be transported into the enduring, modern romantic world of the subject or destination in focus.
What can readers expect for volume 2?
A visually and emotionally textured love letter and guide to London in all her timelessness, glamour and sensuality. We are immensely proud of how Issue 01 turned out, yet eager to fine-tune to a playful, flirtatious editorial approach with storytelling.
Could you sum up the mag in three words? (Sorry if this is tricky!)
Multidimensional, Timeless, Enchanting
Are there any indie mags on your coffee table at the moment?
We try to make a habit of popping into Shreeji Newsagents in Marylebone – one of our stockists and a true cornerstone of independent magazines here in London. This shop is a treasure box for gargantuan voices. One always walk away hugely inspired with a few new titles in tow. Currently on our Notting Hill coffee table: Galah (a huge thank you to editor Annabelle Hickson for the advice before printing), Lodestars Anthology, and Cabana.
Yes, we love Lodestars and Cabana. Will have to check out Galah...And finally, in this digital age, why make print magazines?
In great part to the historical pause the world encountered, I find we as a generation are slowly realising there is a restorative retreat for our imaginations in the physical. We are slowly – albeit imperfectly – learning to use screens more as tools that enrich our social and professional experiences rather than a place our attention is held captive, and investing those regained hours back into what nourishes us: stories. I sense a renaissance not only in print, but in every sustainable medium designed with timeless storytelling rather than reactive storytelling.
Thank you, Kortney!