This is the race weekend. The fastest culture on earth.
72 Hours when the city becomes the center of the world.
Practice, qualifying, the race, and everything the broadcast never shows. The paddock as a runway. The grid as a design exhibition. The fashion and the music, the dinners and the deals, the after-parties running till sunrise. The travel that carries the whole circus from one continent to the next, 24 times a year, across five continents.
This is RACEWKND. The fastest culture on earth.
For fans of speed, style and story, RACEWKND is the definitive edit of Formula 1 culture.
It’s a carefully curated collector’s item as much as it is a magazine. And that’s exactly what it needs to be to draw in a new era of fan.
Jalopnik
This New Magazine Feels like the F1 Museum of Your Dreams
Motorsport
It’s romance. It’s glamour.
Monocle
Our partners are the owners and biggest sponsors of the sport.
We make the things people keep.
The feed is where the sport lives now, and the feed forgets. The clip gets buried, the post slips under the next one, and by Monday the weekend is gone. We work in the other direction. Books, prints, and stories with real weight, made by editors, designers, and photographers whose taste was earned one season at a time. Whatever we make is meant to be kept — held on to, shelved, passed down — an object worthy of the weekend that gave it life.
We make the part that stays.
Two kinds of ambition bring partners to Racewknd Studio: To deepen their place in F1, or to earn one.
For the leaders already inside the sport, on the car, in the garage, named in the release, we build the stories the sponsorship cannot tell on its own. Collectible books and issues. Films and photography made for the moment. Distribution into the rooms where it matters, so the capital spent on the grid pays off far beyond it.
For brands hoping to enter the sport, often priced out of a place on the grid, we build another way in. A season alongside RACEWKND, as a patron of the work rather than a buyer of impressions. Editorial association, earned. Cultural presence around the race weekend that reaches the people worth reaching.
Most publishers reach one kind of fan. We reach all three in the same object, at the same moment.
The Rising Generation
Drawn in by personality, narrative, and the feeling that the world of Formula 1 is bigger than the race. They engage primarily online but want cultural currency and a deeper way in. This is the fastest-growing cohort in the sport.
The Student
Wants education fused with entertainment. The physics, the strategy, the paddock politics. They have a favorite team, a favorite driver, and watch races on TV and streaming. They are converting from fan to obsessive in real time.
The Obsessed
Watches every race live and travels to Grands Prix annually if possible. Engages deeply with season-long narratives, FIA regulations, internecine racing drama, and post-race multimedia. Wants explainers, depth, niche ownership, and objects worthy of the sport. They are the room RACEWKND has always been built for.
Formula 1: The Most Culturally Dense Sport
For the leaders already inside the sport, on the car, in the garage, named in the release, we build the stories the sponsorship cannot tell on its own. Collectible books and issues. Films and photography made for the moment. Distribution into the rooms where it matters, so the capital spent on the grid pays off far beyond it.
Led by two friends who believe Formula 1 is bigger than racing.
Scott Dadich
Co-founder, CEO
Racewknd Studio
Scott has spent 30 years building the editorial brands that define their categories. He knows that how a thing is made is part of what it means, and that taste, applied without apology, is its own form of authority. He led WIRED as editor-in-chief and creative director for more than a decade. As vice president of digital strategy at Condé Nast, he guided the storied publisher’s digital transformation across its titles. He co-founded Godfrey Dadich Partners, relaunched National Geographic and Road & Track, and advised Apple, Netflix, Google, and IBM. He created and executive-produced Abstract: The Art of Design for Netflix. In 2020, he was awarded the National Design Award for Communication Design, the United States’ highest design honor. He has been a racing obsessive since 2006.
Magnus Greaves
Co-founder, Editor-in-Chief
Racewknd Studio
Magnus built the most trusted cultural voice in the paddock from a single racing journal. He knows motorsport from the inside, its history, its machinery, its unwritten rules, and that trust in this world is earned one weekend at a time. He founded RACEWKND in 2015 and spent the decade since turning it into a collectible platform commissioned by the sport's most powerful institutions. When F1 turned seventy-five, its leaders asked him to author, design, and publish the official book. Before publishing, he built and sold a five-hundred-person futures trading firm, which gave him the operational discipline and commercial nerve he now brings to a business defined by editorial authority and selective partnerships. He has been chasing the calendar since his first Grand Prix, at Monza, in 2004.
We work with a small number of partners each racing season.
This is the race weekend. The fastest culture on earth.
72 Hours when the city becomes the center of the world.
Practice, qualifying, the race, and everything the broadcast never shows. The paddock as a runway. The grid as a design exhibition. The fashion and the music, the dinners and the deals, the after-parties running till sunrise. The travel that carries the whole circus from one continent to the next, 24 times a year, across five continents.
This is RACEWKND. The fastest culture on earth.
For fans of speed, style and story, RACEWKND is the definitive edit of Formula 1 culture.
It’s a carefully curated collector’s item as much as it is a magazine. And that’s exactly what it needs to be to draw in a new era of fan.
Jalopnik
This New Magazine Feels like the F1 Museum of Your Dreams
Motorsport
It’s romance. It’s glamour.
Monocle
Our partners are the owners and biggest sponsors of the sport.
We make the things people keep.
The feed is where the sport lives now, and the feed forgets. The clip gets buried, the post slips under the next one, and by Monday the weekend is gone. We work in the other direction. Books, prints, and stories with real weight, made by editors, designers, and photographers whose taste was earned one season at a time. Whatever we make is meant to be kept — held on to, shelved, passed down — an object worthy of the weekend that gave it life.
We make the part that stays.
Two kinds of ambition bring partners to Racewknd Studio: To deepen their place in F1, or to earn one.
1
For the leaders already inside the sport, on the car, in the garage, named in the release, we build the stories the sponsorship cannot tell on its own. Collectible books and issues. Films and photography made for the moment. Distribution into the rooms where it matters, so the capital spent on the grid pays off far beyond it.
2
For brands hoping to enter the sport, often priced out of a place on the grid, we build another way in. A season alongside RACEWKND, as a patron of the work rather than a buyer of impressions. Editorial association, earned. Cultural presence around the race weekend that reaches the people worth reaching.
Most publishers reach one kind of fan. We reach all three in the same object, at the same moment.
1 — The Rising Generation
Drawn in by personality, narrative, and the feeling that the world of Formula 1 is bigger than the race. They engage primarily online but want cultural currency and a deeper way in. This is the fastest-growing cohort in the sport.
2 — The Student
Wants education fused with entertainment. The physics, the strategy, the paddock politics. They have a favorite team, a favorite driver, and watch races on TV and streaming. They are converting from fan to obsessive in real time.
3 — The Obsessed
Watches every race live and travels to Grands Prix annually if possible. Engages deeply with season-long narratives, FIA regulations, internecine racing drama, and post-race multimedia. Wants explainers, depth, niche ownership, and objects worthy of the sport. They are the room RACEWKND has always been built for.
Formula 1: The Most Culturally Dense Sport
For the leaders already inside the sport, on the car, in the garage, named in the release, we build the stories the sponsorship cannot tell on its own. Collectible books and issues. Films and photography made for the moment. Distribution into the rooms where it matters, so the capital spent on the grid pays off far beyond it.
Led by two friends who believe Formula 1 is bigger than racing.
Scott Dadich
Co-founder, CEO
Racewknd Studio
Scott has spent 30 years building the editorial brands that define their categories. He knows that how a thing is made is part of what it means, and that taste, applied without apology, is its own form of authority. He led WIRED as editor-in-chief and creative director for more than a decade. As vice president of digital strategy at Condé Nast, he guided the storied publisher’s digital transformation across its titles. He co-founded Godfrey Dadich Partners, relaunched National Geographic and Road & Track, and advised Apple, Netflix, Google, and IBM. He created and executive-produced Abstract: The Art of Design for Netflix. In 2020, he was awarded the National Design Award for Communication Design, the United States’ highest design honor. He has been a racing obsessive since 2006.
Magnus Greaves
Co-founder, Editor-in-Chief
Racewknd Studio
Magnus built the most trusted cultural voice in the paddock from a single racing journal. He knows motorsport from the inside, its history, its machinery, its unwritten rules, and that trust in this world is earned one weekend at a time. He founded RACEWKND in 2015 and spent the decade since turning it into a collectible platform commissioned by the sport's most powerful institutions. When F1 turned seventy-five, its leaders asked him to author, design, and publish the official book. Before publishing, he built and sold a five-hundred-person futures trading firm, which gave him the operational discipline and commercial nerve he now brings to a business defined by editorial authority and selective partnerships. He has been chasing the calendar since his first Grand Prix, at Monza, in 2004.
We work with a small number of partners each racing season.