
The Art of Summer Distance
Words MILES REDFER
Photos JASPER LENNOX
Measured departures from New York, one hour farther each time.
When New York tilts toward summer — metal hot to the touch, shoes sticking to pavement — clarity comes not from endurance, but from departure. For those attuned to detail and atmosphere, the question isn’t if you should leave, but how far. A well-lived summer is composed of interludes — some brief, some borderless, all deliberate. Here: distance marked by the hour. Not out of haste, but discernment.
1 Hour | Cold Spring
You don’t leave New York so much as soften its edges. Cold Spring sits just far enough to reframe your pace — where antique glass catches morning light in shop windows, and the Hudson lies calmly, as if it remembers how it used to be. Stop into Cold Spring Apothecary for something herbal and a touch bitter. Walk up toward Bull Hill if your shoes are serious. Otherwise, sit near the water. A ferry might pass. You don’t need to be on it.
2 Hours | Hudson
More curated than rustic, Hudson is less a town than a point of view. Interiors are spare but tactile. Food arrives with intention. Locals speak in undertones. Have lunch at Wm. Farmer and Sons, or Lil’ Deb’s Oasis if you’re in the mood for color and irreverence. Stay long enough to browse. Linen hangs well in this light. It’s a place where people own too many chairs and just enough time.
3 Hours | Litchfield Hills
Connecticut’s Litchfield Hills don’t announce themselves — they gather slowly. Winding roads curve past stone walls and unbothered fields. Arethusa Farm is well known, but its reserve makes it timeless: ice cream, butter, the small luxuries of a slower churn. If you’re staying, the Mayflower Inn hosts without hovering. Mornings are for porch reading. Afternoons, for not explaining yourself.
4 Hours | The Berkshires
For those who like a little Chopin with their countryside. The Berkshires offer greenery in graduated hues, punctuated by chamber music and firm architecture. Visit the Clark for cool marble and quiet galleries. Attend Tanglewood midweek, when the lawn is breathable. Stay in Lenox, or at an inn tucked behind trees where breakfast is handwritten and phones go politely quiet. Here, refinement isn’t pressed — just present.
5 Hours | Montauk, with Detours
Montauk isn’t what it used to be — which can be a relief, if you know where to look. Avoid weekends. Drive in early, or better, midweek. Rent something hidden — by the lighthouse, or near Fort Pond where the grasses move like a painting undone. There’s no need to perform summer here. Swim, don’t post. Dine early. Let your clothes smell like salt and wood smoke. Even here, there’s elegance in a quiet exit.
5+ Hours | Europe, if You Know Where
At this range, you’re not escaping New York — you’re shifting atmosphere. Fly out late. Sleep en route. Wake up where the light falls differently, where mornings begin with paper-wrapped pastries and a different grammar carries the mood.
South of France | Aix-en-Provence
The streets are shaded, the shutters half-closed. Mornings begin with market figs and olive bread. Spend an afternoon under Cézanne’s sky, and you’ll understand why some people stop wearing watches here. The light is slow enough.
Portugal | Comporta
South of Lisbon, behind pine forests and rice fields, Comporta is quietly magnetic. Whitewashed cottages, bare feet, crisp wine. There’s nothing to prove — just a place to vanish gently. Stay near the dunes. Swim before noon.
Spain | Cadaqués
The white town by the sea, still somehow untouched. Narrow streets, grilled fish, and a coastline scribbled like a Dali sketch. It’s where people go to write, or forget. If you’re lucky, the afternoon wind will keep you longer than planned.
Italy | Puglia (Ostuni or Savelletri)
In the heel of Italy, light reflects off limestone and lingers on skin. Days are spent between olive groves and white towns that feel dreamt, not built. Dinner is late, always. Sea urchin pasta, local rosato, laughter that doesn’t echo.
Some departures last an hour. Others, a week. It isn’t the length that matters, but the shift. You leave to notice again — the shape of quiet, the texture of time, the way light lands when you’re somewhere else. That’s when summer really begins.
Words MILES REDFER
Photos JASPER LENNOX