Why Swimwear Star Rebecca Klodinsky Walked Away From a Celebrity-Favourite Brand

From the outside, it looked like a dream. Rebecca Klodinsky had built a globally recognised swimwear label from scratch. IIXIIST, the brand she launched in 2013 with just $2,000 and a vision, became an instant cult hit — worn by the likes of Kim Kardashian, Kylie Jenner, and Hailey Bieber, and stocked internationally. For years, it defined her.

But in 2023, Klodinsky walked away.

“IIXIIST was my first business, my breakthrough, my identity for almost a decade,” she reflects. “Closing it wasn’t easy. It wasn’t clean. But it was necessary.”

The decision, she says, was about more than business. It was personal. “Letting go of IIXIIST felt like a death. Not just of a brand, but of a version of myself that I’d spent years building from scratch,” Klodinsky explains. “Over time, it became heavy. The pace, the pressure, the expectations. I was evolving, but the business stayed the same.”

And so, after a decade of high-speed success and global recognition, she shut the doors.

“There’s this idea that quitting means you’ve failed. But no one really talks about the bravery it takes to walk away from something successful—just because it no longer fits.”

That space — the space left behind — would become The Prestwick Place.

Launched in 2019 on the Gold Coast with her now-husband, former AFL player Lachie Henderson, The Prestwick Place is everything IIXIIST wasn’t: slower, intentional, and rooted in ethical luxury. The label specialises in lab-grown diamonds and handcrafted fine jewellery, with full pricing transparency and zero mass production.

“From day one it felt different,” says Klodinsky. “It was slower, more meaningful, and deeply aligned with who I’d become. For the first time in a long time, I wasn’t chasing. I was choosing.”

The numbers speak for themselves. With more than $3 million in annual revenue, 89% customer retention, and 75% of sales happening on a customer’s first visit — most via Instagram — The Prestwick Place has quietly become a category leader in the luxury jewellery space.

Still, Klodinsky is candid about what it took to get here. “Letting go of IIXIIST wasn’t just a business decision—it was emotional. I grieved it. I questioned myself. But I learned that just because something is working doesn’t mean it’s right.”

Now fully immersed in her new venture, Klodinsky says the shift has given her something far more valuable than profile or prestige: clarity.

“What IIXIIST gave me was invaluable. But what The Prestwick Place gave me was space—to grow, to evolve, and to build something that reflects where I am now.”

Her next chapter isn’t just about jewellery. It’s about alignment. About building something that fits not just the market — but the maker.

Rolls-Royce has unveiled the Phantom Centenary Private Collection, a landmark series of just 25 motor cars honouring the 100th anniversary of its most storied model.

Described as the marque’s most complex and technologically ambitious creation to date, the Centenary Collection is a statement of craftsmanship, symbolism and legacy, three years in the making.

Each Phantom Centenary tells the story of the nameplate’s century-long reign as the pinnacle of luxury motoring.

Every surface, from its embroidered headliner to its gold-detailed engine cover, reflects an element of Rolls-Royce’s history.

The Bespoke Collective of designers and artisans distilled the Phantom’s heritage into 77 motifs that appear throughout the car, created using groundbreaking techniques such as 3D marquetry, ink layering, laser-etched leather and 24-carat gold leafing.

Chief Executive Chris Brownridge called the Centenary Collection “a tribute to 100 years of the world’s most revered luxury item,” describing it as “a motor car which reaffirms Phantom’s status as a symbol of ambition, artistic possibility, and historical gravitas.”

Inside, the rear seats feature more than 160,000 stitches across 45 panels of high-resolution printed and embroidered fabric inspired by historic Phantoms, developed in partnership with a fashion atelier.

The front seats are laser-etched with hand-drawn sketches that reference key design codenames, while the Anthology Gallery installation – 50 brushed aluminium fins engraved with a century of quotes – forms a centrepiece that reads like a living archive.

The exterior pairs Super Champagne Crystal paint with Arctic White and Black tones, finished with iridescent glass particles. Each car is crowned with a solid 18-carat gold Spirit of Ecstasy, enamelled and hallmarked with a bespoke “Phantom Centenary” mark. Even the famed RR badges have been plated in 24-carat gold and white enamel for the first time.

Bespoke woodwork depicts the Phantom’s most defining journeys, from Sir Henry Royce’s homes in France and England to the 4,500-mile expedition of the first Goodwood-era Phantom across Australia. Roads and landscapes are etched in gold, and interior embroidery continues these lines in gleaming thread.

The Starlight Headliner, with 440,000 stitches, portrays the mulberry tree under which Royce once worked, complete with bees from the marque’s Goodwood apiary and constellations referencing legendary Phantoms such as Sir Malcolm Campbell’s ‘Bluebird’.

Limited to 25 cars worldwide, the Phantom Centenary Private Collection stands as both an homage to Rolls-Royce’s past and a promise of its future, a modern-day heirloom crafted to be read, driven and remembered over generations.

Why Swimwear Star Rebecca Klodinsky Walked Away From a Celebrity-Favourite Brand

She built a cult global swimwear label worn by Kim Kardashian and Hailey Bieber. Now, Rebecca Klodinsky opens up about the emotional decision to shut it down — and how starting over led to her next big success in ethical luxury.

Only 25 of the most intricate Rolls-Royce Phantoms ever made will celebrate the nameplate’s 100-year legacy.