For Levassi’s latest production, the starting point was simple: what does golf look like when it leaves the course? Rather than building the story around eighteen holes, the production places golf within the wider lifestyle of the person who plays it.
At the centre of the film is AVGAR’s Links bag, photographed and filmed not simply as a piece of sporting equipment, but as an object designed to belong beyond the fairway. Its full-grain leather construction, pared-back silhouette and considered detailing informed much of the visual direction: understated, tactile and deliberately removed from the overtly technical language often associated with golf.
The location became an important part of that idea. Red brick, dry late-summer grass, tailoring and dark automotive details created a distinctly British backdrop, while scenes of golf played informally in the garden introduced something more relaxed. The contrast was intentional, precision without formality; tradition without feeling bound by it.
That thinking extended throughout the production. Close product shots sit alongside wider lifestyle frames; structured compositions give way to movement; the ritual of arriving and preparing to play becomes as important as the game itself. The aim was not to manufacture a version of golf, but to capture the world that naturally exists around it.
“Because the image was never only about the bag, the car or the golf. It was about the life they belong to.”
