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FOLLOWING IN THE FOOTSTEPS OF LEGENDS. CONGRATULATIONS TO LEWIS ON WINNING THE CHAMPIONSHIP.
DRIVERS (LEFT TO RIGHT): RUDOLF CARRACCIOLA, MANFRED VON BRAUCHITSCH, HERMANN LANG, KARL KLING AND FORMULA ONE DRIVERS’ WORLD CHAMPION 2017 LEWIS HAMILTON.
Ingenieur Perpetual Calendar Digital Date-Month. Ref. 3817: IWC Schaffhausen is most in its element right at the top. Fortunately, there are men who help to put it there: men like Lewis Hamilton in this year’s FIA Formula One™ World Drivers’ Championship. As proud partner of the Mercedes-AMG Petronas Motorsport Team, IWC Schaffhausen congratulates Lewis Hamilton on winning the FIA Formula One™ World Drivers’ Championship title as well as the entire team on winning the 2017 FIA Formula One™ World Drivers’ Championship. Just as with the Ingenieur Perpetual Calendar Digital Date-Month, triumph at this level comes only with the precise interaction of every single part and perfection from the first to the last second. Lewis left the competition behind and is now treading in the footsteps of the legends that went before him: great names like Rudolf Carracciola or Manfred von Brauchitsch. In the 1930s, they created the mythology surrounding the marque, which was later taken up by Hermann Lang and Karl Kling and has lasted to this day: the fascination that is the Silver Arrow. These legendary racing cars have held generations of motor sport enthusiasts under their spell. Small wonder that from the very beginning they’ve been where they belong: at the very top. Just like every watch from IWC. I WC . E N G I N E E R E D FO R M E N .
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LETTER FROM THE DUKE OF RICHMOND
TAKING STOCK Goodwood at this time of year is a very different place from the adrenaline-fuelled playground that so many thousands of visitors enjoy during the heady days of the Festival of Speed, Revival and our summer race meetings. In fact, quietly and steadily, much essential work goes on here during winter. In many ways, these months are the bedrock of the year to come, the time when we dream up new ideas, perfect plans and prepare the House and Estate for another year. While it’s always good to take a moment to look back at the year we’ve enjoyed – including such wonderful scenes as Revival’s 60th anniversary Fiat celebration, p58 – it’s good to concentrate on the future. Restoration and conservation projects abound, with much work going on in our woodlands and parkland to manage our stock of trees and encourage wildlife. You can read about the Goodwood rookeries on page 98. At this time of year, the race track and airfield stay busy with track days and flying lessons. One of the Goodwood flying instructors explains on p92 how he plans to restore the Hawker Typhoon that his grandfather flew in World War II, and we also tell the story of Comrades in Arms, a pair of watercolour sketches depicting the pilots of 610 Squadron, stationed here in 1943, and acquired for the Collection (p47). Perhaps the most precious aspect of these winter months is the ability to enjoy the quiet, spare beauty of the Downs, whether you’re a golfer or a walker. On the farm, the turn of the seasons is felt most keenly, as the livestock and soil are prepared for another productive year. I hope that you enjoyed spending time at Goodwood this year and that you will be with us again in 2018. In the meantime, we hope you’ll join us for a convivial seasonal drink or bite at The Kennels or at our restaurant, Farmer, Butcher, Chef, to toast the season.
Duke of Richmond
Hermès Allegro jumping saddle flat seat
SUPER SOX, LILLIE KEENAN AND THEIR HERMÈS ALLEGRO SADDLE, THREE MAKE A PAIR.
The front cover shows a book from the Goodwood Collection: ‘The Noble Art of Venerie or Hunting (and) The Booke of Falconrie or Hawking’, printed in 1611. Cover, Start and Finish photographed by Sam Hofman.
Guy Walters is a journalist and author whose acclaimed titles include The Traitor and Hunting Evil. He meets Sam WorthingtonLeese, a Goodwood pilot restoring the WWII Hawker Typhoon flown by his grandfather.
Laura Craik dispenses wisdom on all things fashion-related for readers of The Evening Standard. We asked for her expert opinion on how to wear checks – the latest countryinspired trend to light up the catwalk.
With over 30 books to her name including The Edwardian Country House and Wartime, Juliet Gardiner is one of Britain’s leading social historians. In this issue, she looks back at 1918, a watershed year for the English country house.
Jonathan Gibbs is a painter and printmaker who has illustrated the poetry of Alice Oswald, Tom Pow and Robert Frost. For this issue of Goodwood Magazine, he created beautiful woodcuts to accompany our feature on rooks.
Sports and wildlife writer Simon Barnes has always had a passion for ornithology. Among the extensive list of books he has written over the years, four have been about birds. In these pages, he investigates the secret life of rooks.
Paul McLean travelled to Goodwood House to shoot our fashion story. His work, which has graced the pages of Porter magazine and Harper’s Bazaar, has a rich, cinematic aesthetic, thanks to his background in film.
Gill Morgan James Collard
Damon Syson Mel Bradman
Vanessa Arnaud Jasper van den Bosch
Style editor Rosie Boydell
Project managed for Goodwood by Catherine Peel: email@example.com. Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Brave New World Publishing, 6 Derby Street, London W1J 7AD. Tel:+44(0)20-3819-7520. For enquiries regarding Brave New World, contact Sarah Glyde: firstname.lastname@example.org. © Copyright 2017 Brave New World Publishing Ltd. All rights reserved. No part of this publication may be reproduced without prior permission from the publisher. While every effort has been made to ensure the accuracy of the information contained in this publication, the publisher cannot accept responsibility for any errors it may contain.
Man out of time
The reboot Saddle up: our edit of the chicest new riding boots
Couture for your hands 42
Lady in red
The return of the domestic library 47
The mouse that roared Celebrating 60 years of the small but perfectly formed Fiat 500, one of the greatest car designs of all time
Flying colours Society painter Olive Snell 64
The artisans Meet the British craftspeople creating exquisite equipment for Goodwood pursuits – and still doing it by hand
From top: one of the Goodwood Estate’s 400-year-old rookeries (p98); a 1959 Cooper Monaco at car restorers Crosthwaite and Gardiner (p64)
The check list How to wear checks without looking like Rupert the Bear
The secret life of rooks Nature writer Simon Barnes celebrates the garrulous inhabitants of Goodwood’s ancient rookeries
Goodbye to all that How World War I caused a seismic change in the life of the English country house
A celebration of the inimitable Louise de Keroualle
The father of modern poetry Edward Thomas’s powerful verse
River deep, mountain high The origins of the Ordnance Survey map
Travel light Introducing the super-light Hummingbird folding bike
Boudoir chic Posh pyjamas that are too stylish for bed
Influential British artist David Bomberg 25
The hot seat The ejector seat: still saving lives at 75
Rover’s return The evolution of Land Rover
Brolly good How to stay dapper in a downpour
Suet dreams Rediscovering four “lost” Sussex recipes
Sign of the times Tracing the history of the peace sign
Haunted house The Goodwood ghost story
Gentleman racer Remembering F1 legend Graham Hill
© CHARLES MARCH
104 Local hero Two Michelin-starred chef Tom Kerridge discusses his bold new venture and the feast he’s hosting at Goodwood 106 Goodwood Estate experiences and dates for your diary 112
Lap of honour Fiat scion and man about town Lapo Elkann on turning daydreams into reality and his first love: cars
Fashion: Red Goodwood House is the perfect backdrop for this season’s most dramatic colour
Restoration man Why Goodwood flying instructor Sam WorthingtonLeese is building the world’s only airworthy Hawker Typhoon fighter
Start The book gracing our front cover and these pages is The Noble Art of Venerie or Hunting by George Gascoigne, bound together in morocco with George Turberville’s The Booke of Falconrie or Hawking. Printed in 1611, with woodcut illustrations and the 5th Duke of Richmond’s monogram on the spine, this is not the oldest volume in the Goodwood Collection, but it is the right place to start. For this is a 17th-century guide to hunting “fifteene sundry chaces… and how to kill every one of them”, including wolves and even wild goats. And hunting is why Goodwood House exists. Charles Lennox, 1st Duke of Richmond of the present line – and the son of Charles II by his French mistress, Louise de Keroualle – stayed at Goodwood to enjoy fox-hunting with the nearby Charlton Hunt, the country’s first known fox hunt. He liked it so much that in 1697 he bought the house, still the home of his descendants 11 generations later. 12
GENTLEMAN RACER Next year is the sixtieth anniversary of Graham Hill’s F1 debut. Charming, debonair and the only driver in history to secure the coveted Triple Crown, the man they called “Mr Monaco” was a quintessentially British hero
Opposite: Graham Hill celebrates winning the 10th Glover Trophy at Goodwood in 1962
A rather melodramatic scene in John Frankenheimer’s 1966 film Grand Prix sees the two-dimensional lead character Scott Stoddard assume heroic stature as he hands his walking stick to his mechanic and folds himself painfully into a racing car for the first time since a supposedly career-ending accident in the Monaco GP. It seemed implausible at the time. Not so four years later, in March 1970, when real-life racer Graham Hill, already 41 years of age, was physically lifted out of his Lotus-Ford 49B after finishing sixth in the South African Grand Prix, just five months after smashing both legs in what witnesses considered an unsurvivable crash in the US Grand Prix at Watkins Glen. Hill’s heroism was already widely recognised. Despite coming late to racing – he had not even passed his driving test when, in 1953, aged 24, he splashed out 20 shillings for four laps in a Cooper F3 car at Brands Hatch – his courage and determination took him all the way to the top. Having entered the fray as a mechanic, he made his F1 debut with Lotus in the 1958 Monaco GP and went on to secure two World Drivers’ Championships, in 1962 and 1968. En route, he earned the sobriquet “Mr Monaco”, winning that exceptionally difficult race no fewer than five times – a feat later surpassed only by Ayrton Senna and equalled by none other than Michael Schumacher. To this day, Hill remains the only driver ever to win the “Triple Crown” of motor racing with his victories at Monaco (1963, ’64, ’65, ’68 and ’69), the Indianapolis 500 (1966) and the Le Mans 24 Hours (1972). Although his race-winning abilities were too rarely matched by the BRM cars he drove from 1960-66, it’s often said of Hill that he lacked the natural talent of his 1967-68 Lotus stablemate Jim Clark, who had won more grands prix than any driver in history before his untimely death in April 1968. Yet Hill proved his mettle in adversity, rallying the team to take that year’s World Championship (an achievement very nearly matched by
his son, Damon, following team-mate Ayrton Senna’s fatal accident in 1994). He raced on until 1975, when, at the grand old age of 46, his failure to qualify at Monaco convinced him finally to hang up his famous helmet, painted in the distinctive dark blue and white livery of the London Rowing Club, and concentrate on running his own Embassy Hill team – a prospect wiped out a few months later when his Piper Aztec aeroplane crashed in thick November fog while he was attempting to land at Elstree airfield. This was indeed a tragic twist of fate, given that he had survived some of the deadliest years motor racing has ever seen. Hill’s will to win was never in doubt – his mood could be fierce – but it was his quick wit and easy, oldfashioned charm that really endeared him to countless fans within and without the racing world (he was even given a minor speaking part in Frankenheimer’s film). As Rosie Bernard, proprietor of the legendary Rosie’s Bar in Monaco, observed: “It’s difficult to say why he was so special, but he had such a charisma, you know, with his cap, his moustache and his sense of humour. He would sit in the sun, enjoying a beer, and when the fans came he would listen to them all and have a joke with everybody. Even the French were charmed by him…” In 2018, 60 years after his F1 debut and 50 since his second World Championship, we may recall a universally popular, quintessentially British hero, fondly remembered by millions, and celebrate a life well lived. As he said in his biography, Graham, co-written by Neil Ewart with a foreword by HRH the Prince of Wales, and published months after his death: “While I had been a racing driver I had often said to audiences during speeches and talks, ‘You know the risks, you accept them. If man can’t look at danger and still go on, man has stopped living. If the worst ever happens – then it means simply that I’ve been asked to pay the bill for the happiness of my life – without a moment’s regret.’”
WORDS BY PETER HALL
SHORTS THE PEACE SIGN On Good Friday next year, it will be 60 years since supporters of the Direct Action Committee Against Nuclear War (DAC) and the Campaign for Nuclear Disarmament (CND) marched from London to Aldermaston in Berkshire, to protest outside the Atomic Weapons Research Establishment. It was on this day that the world was introduced to the one of the most iconic symbols of all time. Gerald Holtom, WWII conscientious objector and professional graphic designer, had taken it upon himself to create an emblem for the DAC (his original sketch is pictured below) and present it to the Committee’s Chair, Hugh Brock. He used the “N” and the “D” (nuclear disarmament) from the semaphore alphabet and enclosed them in a circle to represent the world. It was an entirely contemporary design at a time when logos were usually based on heraldry and lettering. Despite this, in a letter to Brock, who was also the editor of Peace News, Holtom added some artistic licence to the genesis of his idea. “I was in despair,” he claimed. “Deep despair. I drew myself: the representative of an individual in despair, with hands palm outstretched outwards and downwards in the manner of Goya’s peasant before the firing squad. I formalised the drawing into a line and put a circle round it.”
The recently formed CND adopted the DAC’s logo to further strengthen its campaign. Five hundred symbols were emblazoned on banners, placards and lollipop signs, as protestors marched the 52 miles from Trafalgar Square to Aldermaston. Many more wore ceramic badges with a note explaining that, in the event of a nuclear war, “these fired pottery badges would be among the few human artefacts to survive the nuclear inferno”. One of those protestors was Bayard Rustin, an American civil-rights activist and adviser to Martin Luther King Jr. He was so captivated by the symbol that he brought it back to America, where once
WORDS BY ALEX MOORE
sign of the times
again it swiftly captured the public imagination. Holtom’s design was adopted by civil-rights activists across the country, including those supporting antiVietnam, environmental, women’s and gay-rights movements. In time it would become the badge for the burgeoning hippie movement, the Swinging Sixties and the Summer of Love. Today, the symbol is one of the most iconic designs in the world, gracing everything from teacups to tattoos – testament, perhaps, to its accessible and enduring graphic power. Holtom always wanted his design to be available to anyone who fought the same cause. He never copyrighted it and never made a single penny from it. Perhaps then, it’s high time the designer of this iconic symbol was given the recognition he deserves.
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Designed in 1958 and unveiled on the banners of protestors on the Aldermaston marches, the peace sign has since become one of the most universally recognised symbols in the world
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SHORTS SUSSEX RECIPES
suet dreams Once derided as stodgy and lacking in finesse, traditional British food is enjoying a reappraisal. Here we uncover four “lost” Sussex recipes WORDS BY CHARLOTTE HOGARTH-JONES
SUSSEX POND PUDDING Arguably one of the most famous recipes to come out of the county, Sussex Pond Pudding, first recorded in 1672, is still cooked today and has an interesting background. A suet pastry that encases a whole lemon, with butter and sugar, the lemon is actually a contemporary addition – the earliest recorded use of it was in a recipe from Jane Grigson’s English Food in 1974. The name derives from the original 17thcentury recipe, where the centre was filled with a pound (pond) of butter, that would ooze out once the pudding had been cut into. Later recipes suggest sprinkling rosewater and sugar into the centre before eating, or baking an apple or gooseberries inside instead. Today the recipe features on menus from time to time, such as at Marcus Wareing’s restaurant, The Gilbert Scott, in London. It was also the inspiration for Heston Blumenthal’s popular Waitrose Christmas pudding, which had a whole orange inside.
Right: first recorded in 1672, Sussex Pond Pudding consists of suet pastry encasing a whole lemon
SUSSEX BACON PUDDING Another suet-based pudding, Sussex Bacon Pudding is a dough covered with rashers of bacon, slices of onion, and sometimes sage, before being rolled up into a horseshoe shape and steamed in a bag on a stove. Pudding
basins were invented later, as dishes with more moist fillings, such as steak and kidney pudding, became more common. There were variations, including sweet fillings, as well as one made with meat dripping. In the years before sophisticated solid fuel and gas cookers, ovens were very difficult to use, according to Glyn Hughes, who edits the Foods of England website, one of the most valuable food-history resources in the UK. Stovesimmered puddings were popular due to their simplicity, and were a useful way of making scarce ingredients stretch further. “Suet was popular back in the 18th century because a lot of animals, particularly pigs, were much fatter, so there was plenty to go around and it kept well,” he says, noting that vegetable oil wasn’t commonly used in households until around the 1980s. Slow-cooked dishes were also prevalent, as they meant labourers could leave things to cook while they were out. PLUM HEAVIES Regional specialities were far more common during the 18th and 19th centuries. “People didn’t travel, so they’d use local ingredients and local cooking techniques,” notes Hughes. A plum heavy was a small round cake, made of pie-crust, that was filled with raisins or currants and was unique to Sussex. While the main meal cooked at home, these portable snacks were designed for shepherds and woodsmen, who would set out to work with them in their pockets. SUSSEX CHURDLES Similar to plum heavies, Sussex Churdles were also taken by labourers for their lunch. As with Cornish pasties, the scone-like outside of the pie provided an edible wrapper for the dish, which was filled with lamb’s liver, bacon and apple. Dating back to the 17th century, its name may be connected with the old word “churd”, meaning to turn over. Glyn Hughes’s book, The Foods of England will be out in November. foodsofengland.co.uk
The Slow Food movement is responsible for much of the renewed interest in our culinary heritage, not least in tracking down some of the “lost recipes” – many of them from Sussex – that have disappeared from our dining tables. The calorific punch these dishes deliver, not to mention their time-consuming preparation, means they’re unlikely to return to being weekly staples – apparently 18th-century labourers needed to consume 6,000 calories a day, rather than our own 2,000-2,500, such was the energy-burning impact of their daily workload and unheated houses. However, after The Great British Bake Off aired in 2016, sales of classic British puddings rose by 20 per cent, so maybe the Great Pudding Revival is just around the corner. Here are some of our favourites.
SHORTS LAND ROVER
As it approaches its 70th birthday, the Land Rover is back with a new luxury baby SUV and a cleaner, greener philosophy. Here we look back at the dramatic evolution of this classic marque WORDS BY ERIN BAKER
SHORTS LAND ROVER
When Victoria Beckham leant her angular frame against the Range Rover Evoque she helped design in 2012, complete with rose-gold accents and a four-piece leather luggage set, jaws dropped in disbelief. What had become of Land Rover, the ultimate rugged, utilitarian, muddy car brand, beloved by the British public since its origins in 1948? How had the marque gone from making tough off-roaders like the Series I (pictured), essentially a light tractor, roughly sketched on a beach in Anglesey, to blinged-up, pumped-up, urban status symbols that would barely even encounter a patch of grass? The critics should have saved their breath, for worse, or better, depending on your viewpoint, was to come: in 2016 the top was lopped off the Evoque, making it the world’s first convertible luxury SUV (although the Land Rover did begin life without a roof), and now, thanks to Jaguar Land Rover’s
Special Vehicles Operations (SVO) department, Land Rover can’t stop creating extreme, highly stylised examples of its sturdy SUVs… it will even add crazy bodywork and paint to that most iconic of Land Rovers, the Defender, currently discontinued while we await the replacement model. Yet a look at the history of Land Rover, which celebrates its 70th birthday next year, shows a British brand that has gone from strength to strength, adapting and growing at an astounding rate, defying the market under the ownership of Indian steel magnate Tata. A glance back through the familiar canon of Land Rovers shows just how this ultimate British off-roader has evolved. In the beginning, there was the 450 Series I, based on the American Willys Jeep, and the world saw it was good. So good that sales soared: as a result of a shortage of steel in post-war Britain, the Land Rover was clad in aluminium alloy which made it light and resistant to corrosion. The British Armed Forces ordered a load, followed by the Red Cross. The Series II followed in 1958, and by 1959 Land Rover had sold 250,000 vehicles. Creature comforts crept in during the mid-Sixties as drivers demanded a pleasant as well as a practical mode of transport. The American market craved a “recreational” off-roader, and so, in 1970, the two-door Range Rover was born (the prototype was named the Velar, a badge resurrected for Land Rover’s latest luxury baby SUV). Just as it would be with the Evoque, Land Rover was taken by surprise at the popularity of its creation. A black market emerged with certain drivers willing to pay in excess of the asking price or bribe people to jump the waiting list. And so the luxury SUV was born. The Nineties gave birth to the Defender, Discovery and Freelander models, but also witnessed two changes of ownership for the badge, first to BMW, then to Ford. Still, the Nineties ended with the unveiling of the most expensive Land Rover ever: the Range Rover Linley, a limited run of just six cars, each with a £100,000 price tag. Land Rover was increasingly synonymous with high-end luxury. In 2005, Land Rover introduced big, powerful supercharged V8 engines: the wealthy customer wanted speed as well as comfort. As usual, the brand was canny: it could see the eco brigade marching towards it, waving banners for cleaner, greener cars. Land Rover was enemy number one with its needlessly big, heavy, gas-guzzling 4x4s. As ever, Land Rover innovated. It built its cars out of lighter aluminium, and set its engineers to working on smaller engines, hybrid and pure-electric powertrains. It has now introduced, in the Velar, synthetic protein leathers, and sustainable open-grain woods. In October this year, it announced the arrival of the first plug-in hybrid Range Rover. By 2020, all Land Rovers will feature an electric derivative. The public currently awaits both the Defender replacement and the possible arrival, in 2019, of the first Road Rover, a new pure electric line built primarily for Tarmac, with limited off-road capability. Inevitably, it will sell well. Not bad for a company whose famous logo was apparently modelled on a pilchard tin left on the designer’s desk after lunch. No one, not even Land Rover, knows what the next 70 years will bring, but one thing is certain: the company will rise to the challenge, for no other brand provides a better history lesson on how to survive automotive natural selection.
man out of time WORDS BY OLIVER BENNETT
Now feted as one of the finest British painters of the last century, David Bomberg – despite possessing enormous talent – had a difficult life. Considered too avant-garde at the beginning of his career and too conservative at the end, he had a lifelong habit of failing the fashion test. But a new exhibition, “Bomberg” at Chichester’s Pallant House Gallery, shows that he fully deserves his posthumous recognition. “Bomberg’s reputation has continued to grow,”
Fearless, radical and decades ahead of his peers, 20th-century British artist David Bomberg never received the acclaim he deserved during his lifetime. But as a new show at Chichester’s Pallant House Gallery reveals, he left a powerful visual legacy 22
© TATE, LONDON 2017. HENNY HANDLER, © TATE, LONDON 2017
says Rachel Dickson, curator at the Ben Uri Gallery, which organised the exhibition. “Despite scandalous critical neglect in his own lifetime, he’s now recognised as a leading 20th-century British artist: a unique, independent vision who radically altered our understanding of landscape and figurative painting.” Born in Birmingham to Jewish parents from Poland, Bomberg moved to the turn-of-the-century East End of London and became part of the thriving émigré scene. Full of early promise, he began as a prodigy at Walter Sickert’s life-drawing classes at the Westminster School of Art, a crucible for the Camden Town Group, which painted contemporary London realistically, à la Manet. He then went to the Slade School of Art,alongside fellow rising stars Mark Gertler, William Roberts, CRW Nevinson and Dora Carrington, but was expelled, supposedly for
being too ahead of his time. Certainly, his geometric and angular works were in tune with imported ideas like Cubism and Italian Futurism, with the city seen as a vast mechanical ballet: see Ju-Jitsu (c. 1913) and The Mud Bath of 1914. Despite a friendship with artistic gadabout Wyndham Lewis, Bomberg refused to join the UK’s own avant-garde art movement, the Vorticists. “Bomberg just wasn’t that clubbable,” says Jamie Anderson of London gallery Waterhouse & Dodd, also exhibiting the artist this autumn. “He could be difficult.” World War I called, and Bomberg returned to the UK changed and chastened. Rather than the machine-age abstractions of the past, he began to paint landscapes and portraits, going to Palestine in 1924 to pursue his goal of finding the “spirit in the mass” – a search for the essence of form – and then to Spain in 1929-35. By now reasonably well known (he was commissioned as a war artist during World War II, with mixed results), Bomberg’s most fertile period came in 1945, when he taught at Borough Polytechnic. It wasn’t a prestigious post, but he lured a remarkable group of artists, including Dennis Creffield, Leon Kossoff and Frank Auerbach, who described Bomberg as “original, stubborn, radical”. Known as the “Borough Group”, they helped renew Bomberg’s reputation as an incubator of talent. “He was a profoundly influential teacher who inspired a generation of painters, creating a powerful visual legacy,” says Dickson. In 1954, Bomberg left once again for Spain with the idea, says Anderson, of setting up “a kind of art school”. It didn’t happen, and he died in 1957. There’s now a poignant blue plaque gracing his home in Ronda, Andalucia. Underestimated and misunderstood, Bomberg did not have the sunniest of natures, as might be deduced from his brooding images. “When his mood went dark, his oils dried up,” says Anderson. “He felt let down and neglected, even bitter.” Perhaps with good reason: Bomberg had given his life to art, but, as Anderson says, by the 1950s and ’60s his style had “become toxic – by then it was all about Pop Art and Abstract Expressionism”. Bomberg became a footnote. But in the 1990s, curators and critics started to “join the dots”, as Anderson puts it. “They recognised that he was a fantastic draughtsman, and a great painter.” At the same time, British 20th-century art was reassessed, with Bomberg considered a pivotal figure. Market vindication came in 2015 when his Church of the Holy Sepulchre, Jerusalem (1925) sold for £1,224,900 at Christie’s, and last year it emerged that the late David Bowie owned 12 Bombergs. But perhaps the highest Bomberg accolade is the most prosaic: that a student halls of residence at London South Bank University – once humble Borough Polytechnic – is now named David Bomberg House. That’s recognition. “Bomberg”, curated by Ben Uri Gallery and Museum, is at Pallant House Gallery, Chichester, until 4 February 2018. pallant.org.uk “David Bomberg: Paintings and drawings from a private collection”, 1-24 November, waterhousedodd.com
Opposite: Ju-Jitsu (c.1913) by David Bomberg This page: the artist at work (c.1912-14)
Photographer Arthur Woodcroft
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SHORTS LOUISE DE KEROUALLE
lady in red WORDS BY CHARLOTTE HOGARTH-JONES
Remembering the remarkable Louise de Keroualle, beloved mistress of King Charles II and mother of the first Duke of Richmond
In the fashion world, it’s the colour of the season, but throughout history, red has been the colour of choice for women looking to stand out from the crowd. As this issue’s photo shoot was under way in Goodwood’s grand Ballroom (p78), one particular lady in red overshadowed the set – Louise de Keroualle, whose portrait hangs high up on the wall. “She is as sweet as she is beautiful,” wrote French poet Charles Robinet of Louise, who was famed for her childlike features, with the almond-shaped eyes, gently arched eyebrows and full red lips so highly prized in the late 1600s. Louise was one of just three women to win Charles II’s heart, and she remained in his favour until his dying days. The couple met at Dover Castle in 1670, when she was acting as lady-in-waiting for Charles’s younger sister Henrietta, having no dowry of her own. When Henrietta came to leave, reports Rosemary Baird in her book Goodwood: Art and Architecture, Sport and Family, she sent Louise to the king with her royal jewel box so that he could choose himself a gift. Instead, he is said to have gestured towards Louise, stating, “This is the jewel that I covet.” Shortly afterwards, Henrietta died, and Louise returned to become the king’s mistress in 1671 – much encouraged by the French government, who hoped that she would become a major diplomatic asset. She was named Duchess of Portsmouth by the king in 1673, the year after she had given birth to their son Charles, who was given the title of Duke of Richmond in 1675. From that point onwards, she remained in the king’s company, despite competition from Charles’s two other main mistresses, Barbara Villiers, later Duchess of Cleveland, and the actress Nell Gwynn. There’s no doubt that the king was fond of Louise – even naming his new royal yacht HMY Fubbs after his nickname for her (Fubbs meaning attractively chubby) – but hers was an insecure position to maintain, and when Charles died in 1685 she decided to return to France. Here, painted with her page boy by Sir Godfrey Kneller, the Duchess’s dramatic, powerful beauty is undoubtedly done justice, while her position at the very heart of Goodwood is fitting given her pivotal role in the history of the Estate.
Left: Sir Godfrey Kneller’s 1684 oil-oncanvas portrait of Louise de Keroualle, which hangs in Goodwood’s Ballroom
Official fuel consumption figures in mpg (l/100km) for the Ford Mustang range: urban 14.1-28.0 (20.1-10.1), extra urban 28.8-41.5 (9.8-6.8), combined 20.8-35.3 (13.6-8.0). Official CO 2 emissions 306-179g/km. The mpg figures quoted are sourced from official EU-regulated test results (EU Directive and Regulation 692/2008), are provided for comparability purposes and may not reflect your actual driving experience.
SHORTS EDWARD THOMAS
Anniversaries can do wonders for the dead poet, particularly when they are centenaries. Posterity may not exactly have shunned Edward Thomas, but his life and his death, in the Battle of Arras on Easter Monday 1917, have become matters of intense fascination as the awful milestones of the Great War come parading through our calendar. His is a strange case. He was not a Wilfred Owen or Siegfried Sassoon, documenting the horror of it all with a well-wrought passion. In fact, he hadn’t really been a poet at all, at least not in his own perception, until Robert Frost assured him that he was. Frost was an older, self-assured American. Thomas, for years struggling resentfully with the burdens of low-paid journalism and rural fatherhood in Hampshire, had reviewed a collection of Frost’s poems favourably. The two became friends, with Frost insisting that Thomas was already writing poetry, which just happened to be termed journalism. If you look at some of his early poems, like “Up In The Wind”, you can see what his mentor was driving at. A few miles from Thomas’s adopted village of Steep in Hampshire was a pub called The White Horse. Its sign had been stolen and not replaced. (It is still missing, hence the locals’ affectionate tag, “The Pub With No Name”.) In setting down the beginning of a conversation there with a Cockney girl bemoaning the isolation of the place, he is working from an earlier prose draft, breaking it up into lines and evolving a form of muscular, richly lyrical blank verse. “As The Team’s Head-Brass” has Thomas placed at a field’s edge in the same environs. Surrounded by tumbled elms, he chats to the ploughman as he and his horses pass round again. They mention the war, the many gone to fight – young men as fallen as the trees, though the comparison is never specifically made. The diction is plain and unheightened. One hundred years on, Thomas’s readers find deep emotional eloquence in the absence of ostentation – a voice seeking modernity. Thomas had only three years in which to pursue his craft, but in that time he wrote some 150 fine and evocative poems. If he had lived now, he would have surely been diagnosed with acute depression. Rage and patriotism made him determined to do his bit as a soldier, but his insistence on going up the line at Arras was nothing less than suicidal. Plagued by a sense of futility and despair, Thomas would have been astounded by his enduring influence. In the past six years, there have been major contributions to the study of the man and his work. Nick Dear’s 2012 play The Dark Earth and the Light Sky reconstructs the poet’s relationships with his poor, devoted wife Helen, his disapproving father and that buccaneering man of letters, Frost. Jean Moorcroft Wilson’s 2015 study, From Adlestrop to Arras, sees him as the father of modern poetry, no less, while Matthew Hollis’s Now All Roads Lead to France (2011) explores the importance of his friendship with Frost. Thomas’s modern-day acolytes are often to be found treading the paths he frequented near Steep, just 18 miles across the South Downs from Goodwood. There are excellent walks to be had here, passing the houses where he, Helen and their children lived. High on Shoulder of Mutton Hill, which inspired the poem “When I First Came Here”, is the memorial stone bearing his name, erected by the author Walter de la Mare in 1937. In the village church are two engraved memorial windows by Laurence Whistler. The Edward Thomas Fellowship holds an annual walk in Steep to commemorate the poet’s birthday (March 3). This takes in the church, the memorial stone and the Red House, his home from 1909 to 1913. And the bangers and mash at The Pub With No Name are excellent. Alan Franks was the 2014 winner of the Wilfred Owen Poetry Prize.
THE FATHER OF MODERN POETRY Killed at the Battle of Arras in 1917, Edward Thomas is viewed as a war poet, though he wrote little of the conflict itself. Yet his verse is full of the impending shadows of war, all rooted in the beauty of his beloved Hampshire WORDS BY ALAN FRANKS
Above: writer and poet Edward Thomas photographed in 1905
SHORTS GHOST STORY
SHORTS GHOST STORY
A terrible accident. A spectral apparition. Like all great country houses, Goodwood has its very own Victorian ghost story. Read on… if you dare WORDS BY JAMES COLLARD
ILLUSTRATION BY GRAHAM ROBSON
The surprising thing about The Goodwood Ghost Story is that the scary apparitions it describes don’t occur at Goodwood House at all. In the story, which can be found in a Victorian anthology called The Haunters and the Haunted, there’s no moping shade of a long-dead housemaid lurking in the scullery, no headless lady in the ballroom. There are two apparitions: one in Bognor, the other at “a lonely piece of road, long and dreary” in the nearby Sussex countryside. She was called Harriet, or “Mrs M”, this ghost, and Goodwood is where she met her grisly end – on August 23, 1831 – as related by Mrs M’s brother-in-law. Not the scariest of ghost stories, the yarn, which is “doubtfully attributed to Charles Dickens” – very doubtfully – is perhaps more cautionary tale than spine-chiller. The moral? Ladies, don’t let a handsome face distract you from your duty. And never, ever, put up your hair with a heavy metal comb. Mrs M was a fine-looking widow with a draper’s business in Bognor, and “several suitors for her hand”. But the suitor she liked was the rather unsuitable Mr Barton – “a man in poor circumstances, he had no other motive in his proposal of marriage, so my wife thought, than to better himself”. But when the Duke of Richmond opened the park at Goodwood for the day, Mrs M opted to join Barton on a picnic party there. Needless to say, it ended badly for her. “My wife told her she had much better remain at home to look after her children.” But Mrs M was “bent on going”, and set off driving a four-wheel phaeton. What Mrs M didn’t know was that one of the ponies borrowed for the expedition hadn’t been broken in. The next her sister saw of the errant Mrs M was when she found her “standing in the darkest corner” of the empty stables at 6pm that evening, dressed in her “best black silk”. She chided Mrs M about the unsuitability of her outfit for a picnic, and on hearing no reply, assumed that Mrs M was being sulky and left her to herself. Which is why she refused to believe the servant who told her the picnic party had still not returned… Until at 11 o’clock, one of the party rushed in to say: “If you wish to see your sister alive, you must come with me directly to Goodwood.” For having arrived at Goodwood, the ladies of the party decided to take a turn around the park with Mrs M at the reins. But almost immediately the ponies shied, then charged towards a closed gate. “The other ladies jumped… But Mrs M still held on to the reins, seeking to control her ponies.” Too late she jumped – then “the heavy, old-fashioned comb of the period, with which her hair was looped up, was driven into her skull by the force of the fall…” The Duke of Richmond, a witness to the accident, ran to her aid, at which point she uttered her last words: “Good God, my children.” The Duke sent for medical help, but nothing could be done for Mrs M, and when her sister sighted the apparition of her in the stables back home in Bognor, in reality she lay dying in an inn at Goodwood. She appeared one more time, several years later – to her brother-in-law – on the road to Worthing. “Walking at my horse’s head, dressed in a sweeping robe, so white it shone dazzling against the white snow, I saw a lady… The figure turned, and I saw Harriet’s face – white and calm – placid, as idealised and beautified by death...” He asked her what troubled her. The ghost of Mrs M kept looking at him, mute. “I felt in my mind it was her children [who troubled her].” He told the apparition he would take in the orphans and raise them as his own. Then Mrs M vanished.
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Brolly good Photographer Arthur Woodcroft
SHORTS EJECTOR SEAT
Seventy-five years on from the invention of the ejector seat, this British success story continues to save lives
WORDS BY PAUL CROUGHTON
the hot seat On 12 September 1942, Captain Valentine Baker, a hugely experienced pilot and World War I veteran of all three fighting forces, took his usual place at the controls of a prototype fighter plane. Baker was the co-founder, along with engineer James Martin, of British aviation manufacturer Martin-Baker Aircraft Company, established eight years earlier. It should have been just another test flight – the 10th for this particular model, the MB3, commissioned by the Air Ministry. But it was not to be. Once airborne, the engine seized and during the resulting emergency landing the plane hit a tree stump and cartwheeled. Captain Baker was killed instantly. James Martin was haunted by his friend’s death and dedicated the future of their company to pilot safety. It was a decision that would save thousands of lives. From that dark moment, Martin-Baker went on to become an extraordinary but little-known British success story. Martin invented the modern ejector seat, and 75 years later his company has delivered some 70,000 to 93 air forces around the world. There
are currently 17,000 Martin-Baker seats in service in 54 different aircraft types. A counter on the company’s home page keeps a log of the lives it has saved. The number currently stands at 7,553. These days, each seat can cost up to £200,000 and is fitted with enough power that, from a zero/zero position (at zero altitude and zero knots, ie, stationary), the pilot can be projected up to 300ft into the air. The parachute is not deployed until the seat “knows” it’s at a high enough altitude and speed to do so safely; all this happens without any action from the pilot. The company is now run by the two sons of James Martin and has received 11 Queen’s Awards for Enterprise across fields such as technological innovation, export achievement and international trade. The new direction of the company was a labour of love for Sir James, who was knighted in 1965. After Captain Baker was killed, Sir James was invited to the MOD to investigate how to offer pilots a means of escape in flight. His innovation was a seat that propelled pilots into the air, and a year later an adventurous – and no doubt nervous – employee, one Bernard Lynch, successfully completed the first static ejection. Eighteen months later, Lynch conducted the first mid-air ejection, and went on to complete more than 30 tests in his lifetime. But it wasn’t until 1949 that a pilot was saved in action: Jo Lancaster was flying an Armstrong Whitworth A.W.52 aircraft and was forced to eject over Southam, Warwickshire. Since then, a special club has been established, the Ejection Tie Club, for those who owe their lives to a Martin-Baker seat. More than 6,000 members have received a club tie emblazoned with a red triangle – the recognised warning signal for ejection. On the company’s website there are testimonials that make for humbling reading. “On July 27, 2003, Martin-Baker saved my life after my EA-6B Prowler caught fire after a catastrophic engine failure over the Persian Gulf,” writes Christina Portnoy. “I am lucky to be ejectee number 5305, with a safe water landing.” Flight Lieutenant Ian Ferguson – ejectee number 3914 – has the distinction, if that’s the correct word, of experiencing the lowest and fastest survivable ejection in the history of the RAF when his Phantom FGR2 malfunctioned and he ejected at 250ft travelling at 600mph. “I would like to thank Martin-Baker Aircraft Company for saving my life,” he writes, simply. It’s fair to say that many, many others feel the same.
Right: the lives of more than 6,000 pilots have been saved by a Martin-Baker seat
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Few items of clothing rival the instant therapeutic effect of the humble pyjama. In an age of hygge, the Danish trend for turning relaxed cosiness into an art form, the pyjama’s new age has come. Pyjamas first appeared in British bedrooms around 1870, when colonial types brought back the paejama (the Hindi word for leg covering) from the East. By the 1920s, pyjamas were a key part of the gentleman’s wardrobe; at the same time, Coco Chanel started making them chic for women. In recent years, pyjamas have come under threat from jersey loungewear and the egregiously named “athleisurewear”, but the traditional PJ is fighting back.
The new generation of designer pyjamas are far too elegant to be confined to the bedroom. Wear them as evening attire for the ultimate in laid-back style
DESMOND & DEMPSEY
WORDS BY ROSIE BOYDELL
Last year, fashion giants Dolce & Gabbana and Gucci sent models down the runway in silky sets and the British high street was quick to follow. Molly Jeffrey, co-founder of London-based brand Desmond & Dempsey, produces beautiful, exotic prints and cites pyjamas as a worthy investment “predominantly because you spend more time in them than in any other item in your wardrobe”. Other purveyors of posh pyjamas include Olivia von Halle, who specialises in beautiful silk sets, and For Restless Sleepers, who create opulent prints and impeccable attention to detail. The shirt of a set from any of these brands can be paired with tailored trousers or jeans for a daytime ensemble. The full set can be worn with your highest heels or trustiest trainers for a statement head-to-toe look. The only problem will be staying awake through dinner when you’re dressed for a cosy night in.
Top: Signature navy robe, £175; Byron Premium short printed men’s PJ set, £150. Left: Long Series pyjamas, £130; maroon and pink espadrille slippers, £85; Pomme housecoat, £198. All from Desmond & Dempsey; desmondanddempsey.com
Left: the Hummingbird can be unfolded in five seconds
WORDS BY PAUL CROUGHTON
TRAVEL LIGHT Introducing the Hummingbird, a revolutionary new folding bike inspired by Formula 1
Many us think we have good ideas, but it’s the drive to act upon them that separates entrepreneurs from idle dreamers. The force that propelled Petre Craciun to invent the world’s lightest folding bike – named the Hummingbird, and weighing just 6.9kg – was simple: love. His girlfriend Ligia’s folding bike was too heavy to carry up the four flights of stairs to their flat, so Craciun, 26, an engineer and bike tinkerer who has owned, taken apart and rebuilt close to 200 bicycles in his time, set about making her a lighter one. His prototype, funded through Kickstarter, weighed considerably less than Ligia’s now discarded old model. But it was when Ligia’s boss got wind of it, and took Craciun and the Hummingbird to Dave Richards, that things started to move at pace. Richards is the former chairman of Aston Martin and team principal of Benetton Formula 1 Racing, and now the chairman of Prodrive, a motorsport and engineering company that designs and constructs racing cars – so a man who’s not unfamiliar with efficient and elegant design. Richards rode the prototype around his kitchen (he has a big kitchen) and he offered on the spot to refine and manufacture the Hummingbird from Prodrive’s home in Banbury, Oxfordshire. The finished bike’s clever design means that the back wheel and chain folds forward under the frame, so it collapses in just five seconds. That frame is made of slices of lightweight carbon fibre, fused together to form one piece – the same process employed by Prodrive’s racing cars. “Carbon fibre is an amazing material because it’s five times as strong and a third of the weight of steel,” says Craciun. “Most professional bikes are made from carbon fibre, but there were no carbonfibre folding bikes out there.” So now, thanks to Kickstarter, Prodrive, and a lot of inspiration and hard work from Craciun, Ligia has a bike that’s light enough to take anywhere. It’s a very modern love story… perfect for idle dreamers. The Hummingbird is available in four colours, starting from £3,395. hummingbirdbike.com
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Glove actually Photographer Arthur Woodcroft
RIVER DEEP MOUNTAIN HIGH The first ever Ordnance Survey map of Britain was commissioned by the 3rd Duke of Richmond, whose passion for cartography still resonates today WORDS BY ALEX MOORE
How long do you think it originally took to map England and Wales at one inch to the mile? Longer. Longer still... it took 85 years. That would have been the life’s work of a lesser man, but was one of many feats achieved by “the radical duke”, Charles, 3rd Duke of Richmond (1735-1806). During his tenure as Master of the Ordnance – a post that gave him responsibility for the country’s fortifications, military defences, small arms, munitions and map-making – the Duke nurtured his love of cartography by commissioning a map of the 72 square miles surrounding his home at Goodwood. A few years later, in 1785, to protect the nation from the threat of a French invasion, the Duke expanded his horizons, commissioning the first survey of the whole of Britain. Fast-forward to today, and 250 surveyors – with the help of two aircraft – make 10,000 changes to the Ordnance Survey database every day. Consider White Hart Lane, Tottenham Hotspur’s football ground since 1899 – recently demolished, then removed from the OS. It makes sense that the 403 paper maps that cover Great Britain are revised every two to five years – some more than others (the OS app updates automatically). So what of these defunct maps? Using an out-of-date map is risky – landscapes can become unrecognisable in the time between revisions. To encourage people to replace their maps regularly, each couple of years OS gives people the chance to trade in their old versions for money-off vouchers. OS then sends the obsolete maps to Scout groups and navigation classes for use in teaching, or – if it’s rare – adds it to the archive. There’s a characterful beauty to a time-worn old map that collectors and hoarders – the Timeshift documentary A Very British Map: The Ordnance Survey Story spotlighted a fan who owns thousands – can get very excited about. The Map House, London’s oldest specialist antiquarian map seller, stocks iconic maps, ranging from Ernest Shackleton’s Antarctica to Edward VIII’s Western Front. A map of Jerusalem plotted by Captain Charles Wilson for OS in 1865 is currently available for £4,250. Artists are getting in on the act too. Tony Davis’s series of reimagined OS Landranger maps saw the artist take the map of Unst in the Shetland Isles and digitally retouch it as Treasure Island (it’s widely believed that the island in Robert Louis Stevenson’s novel was based on Unst). Meanwhile, Ordnance Survey’s most popular initiative – perhaps the one that the Radical Duke would have most approved of – is a venture that mixes practicality and personality. OS now creates custom-made maps. Find your centre point, choose your scale, set your boundaries, choose from folded, flat or framed, and let the team do the rest – the perfect gift for an avid ambler or keen cartographer.
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SHORTS HOME LIBRARIES
In the Georgian era – one of the greatest house-building periods of British history – the library was an indispensable room for the well-educated and very wealthy. The likes of Robert Adam, William Kent and, at Goodwood House, William Chambers were commissioned to create libraries to showcase the magnitude of a collection. At Goodwood, the Small and Large Libraries are considered two of the finest rooms in the house. “This was fundamentally important in society – a demonstration of education and cultural sophistication,” says Lindsay Cuthill of Savills, the upmarket estate agents. In today’s digital age, the assumption might be that this sacred room of printed ink on bound paper would have been rendered redundant. But the reality is – somewhat gratifyingly – quite the opposite, and once again the wealthy are commissioning libraries for their homes. “Libraries are places that represent the antithesis to our modern way of life – where people can disconnect and enjoy the moment in contrast to the digital world,” states Alexandre Assouline of the Assouline publishing house – which also designs and curates libraries for clients, many of whom are inspired by the handsome library-like space of the company’s Lutyens-designed Maison Assouline in London’s Piccadilly. Besides, just as how, in the age of Spotify, vinyl has never been cooler, so the book as a beautiful object – leatherbound by hand perhaps or in a limited “artist’s edition” – has never been so desirable. “Statistics in the book trade at the moment say that the market for paper books is growing and that the digital era has peaked,” says Philip Blackwell, who set up Ultimate Library, which supplies luxury libraries for private clients and hotels, after many years with his family’s publishing and bookshop business. Blackwell cites a number of reasons, including the need to cast aside the “technical tyrant” that rules our lives and the research that reading off a screen at night inhibits sleep. “But I also think that in times of uncertainty – whether that’s economic or geo-political – people crave authenticity. Paper books are just one strand of a broader movement that takes in everything from vinyl, foraging and farmers’ markets to prize a return to real things.” When interior designer Philippa Thorp is revamping a house – be it in Belgravia, Phuket or the Hamptons – there will almost certainly be a library. For her, that 2,000-year-old adage from Cicero – that a room without books is like a body without a soul – holds truer today than ever before. “The texture, colour and feel of books is an important part of our psyche, and if you strip them out of a house, it becomes bare,” she adds. But today’s libraries are no longer the strict preserve of buttery leather chairs and polished mahogany bookshelves. Instead, think sophisticated, high-design spaces with industrial-chic modernist shelving or colour-coded collections set off by inlaid LED backlighting. “We’ve just put one in a house in Cap Ferrat which is light and bright with the joinery in a sharp off-white, while others are contemporary clubby,” says Thorp. “One constant, however, is that they are rarely digital vacuums; clients never want to be too far from Google.”
shelf life “A room without books is like a body without a soul,” which is why no stylish contemporary home is complete without a domestic library WORDS BY ARABELLA YOUENS
Left: Goodwood’s Large Library. Right: the two-storey library of the L House in Zurich by Philippe Stuebi Architects is glazed on three sides, offering ample light for reading
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flying colours After painting matinée idols, Olive Snell turned her focus to World War II pilots. Now these poignant watercolours can be seen at Goodwood
MARY EVANS, CHEFFINS
WORDS BY CHARLOTTE HOGARTH-JONES
Looking at Olive Constance Snell’s (18881962) glamorous pictures of 1920s flappers, it might seem strange that the American society painter later turned her hand to portraits of World War II pilots. From Tallulah Bankhead, an American actress known for her husky voice and outrageous personality, to English actresses such as Cathleen Nesbitt and Madeleine Carroll, she painted some of the biggest, most eccentric names in film, as well influential society women such as the Duchess of Argyll. Many of her works appeared in The Tatler before the war. Pilots soon became synonymous with handsome, brave young men, with their own sense of intrigue and allure, so maybe it’s not surprising that Olive came to focus on them as her subjects during the war. Her marriage to the army colonel Ebenezer JL Pike gave Olive access to military officers as well as social acquaintances, and her sketching permit from the War Artists’ Advisory Committee allowed her to paint in public throughout the war. Two excellent examples of her work from this period were added to the Goodwood collection this summer. A pair of watercolour paintings entitled Comrades in Arms depict a selection of the pilots from 610 Squadron who were stationed at RAF Westhampnett at Goodwood in 1943. The pilots painted include: James Edgar (Johnnie) Johnson, the top-rated Allied fighter pilot of the war in the European theatre; Sgt Karol Michalkiewicz, nicknamed Polish Charlie, one of many Polish airmen who came
to Britain’s aid after the fall of their country and who joined the 610 Squadron on 21 November 1941 from The City of Warsaw Polish Squadron; and P/O Andrew Stewart Barrie (Stewie), who was tragically shot down and killed in June of the same year, aged just 25. In fact, of the 18 pilots depicted in the paintings (many of whom are listed by their nicknames, including Hoppy, Feathers, South and Dai), four were killed in the months after the portraits were finished. As the personnel of both bases and squadrons changed regularly during this time, the same painting, completed just two months later, would have featured a very different group of men. These wonderfully poignant works capture an extraordinary moment in time, and join two other works by Snell at Goodwood: black-andwhite sketches of the late Duke of Richmond and his brother, Lord Nicholas Gordon Lennox, and a small head-and-shoulders oil portrait of the 9th Duchess of Richmond, currently on display in the Red Hall.
Top: 610 Squadron, February 1943, by Olive Snell. Above: portrait of pioneering American aviator Amelia Earhart by Olive Snell, on the cover of The Sketch magazine, 1928
Goodbye to all that 48
Entertaining royalty: a race week house party at Goodwood in 1907, with King Edward VII (centre, front row) and the Prince of Wales (centre, back row). The 7th Duke of Richmond is standing directly behind the king
Words by Juliet Gardiner
One hundred years ago next year, the Great War drew to an end. But while Britain avoided the revolutions breaking out elsewhere, in country houses like Goodwood, life would never return to the grandeur of the Edwardian era
THE COUNTRY HOUSE
ON THE 11TH HOUR of the 11th day of the 11th month of 1918, the guns fell silent. The Great War, which many had confidently expected to be over by Christmas 1914, in fact lasted for just over four years. It was an immensely costly conflict, and Britain emerged from the war a debtor nation, while in the longer term the country’s economic future would be bleak – and Prime Minister Lloyd George’s promise to the returning troops of “homes fit for heroes” would remain largely unfulfilled. Many aspects of British life were changed by the war and the combination of economic, social and cultural change that came with it. Country-house life would never be quite the same. The leisured, moneyed existence that many landowners
had enjoyed before the war would never return – and those who had experienced it would look back on the Edwardian age with nostalgia, as a high point of elegance and prosperity. The lavishness of pre-war country-house life is conjured up evocatively in the memoirs of Lady Muriel Beckwith, née Gordon Lennox, published in the 1930s. In When I Remember: a Reflection of the Golden Age, she describes growing up at Goodwood House in Sussex and Gordon Castle, at the heart of the Gordon Lennox family’s Scottish estates. She recalls the glamour of race week at Goodwood, the richness of the hospitality, and shoots in Scotland where the family might host three separate shooting parties at the same time – at the Castle, and at a house and nearby lodge in Glenfiddich. “We were born in a fortunate hour,” she wrote, “when the insecurities and haunting cruelty of war had not destroyed the leisure, the spaciousness, and the dignity of the countryhouse life. The young of today, brought up in the post-war atmosphere of reduced incomes and enforced retrenchment, of taxation which is almost strangling the great estates, can hardly imagine life as it was lived in the early days of 1900.”
THE COUNTRY HOUSE
Yet in 1918, in homes rich and poor, it was the young men killed, missing or seriously wounded that was the most tragic aspect of war, and one that would cast a long shadow over the succeeding century. Thousands of men had rushed to volunteer when war broke out on August 4, 1914, but by 1916 conscription had to be introduced as yet more soldiers were needed for the killing fields of the Western Front, where a war of stasis was being fought in the terrible conditions of trench warfare. It was estimated that 10 million died worldwide, while nearly three million British troops were killed or wounded. But the officer class died in disproportionate numbers in trench warfare – and whatever charges had been levelled at the “idle rich” in the years prior to 1914, George Orwell noted that the traditional ruling class proved “ready enough to get themselves killed”. Lady Curzon later recalled: “England lost the flower of her young men in those terrible days… There was scarcely one of our friends, who did not lose a son, a husband or a brother.” At the end of the war then, the rooms of many country houses (as with more humble dwellings) had grown silent with grief, where previously they had been alive with the high spirits of the family, including the young men who were to die or be mortally wounded. But untimely death also had economic consequences. In numerous cases, death duties – sometimes multiple death duties within the same family – devastated the fortunes of land-owning families. Many had already been hit hard by the great agricultural depression of the 1880s and ’90s, in addition to the consequent fall in the price of land and rents, combined with the increase in taxes and death duties. All this further threatened the position which their owners held in society as owners of great estates. The engine of these great houses was changing too. The vast numbers of servants previously used to keep up a country house and its estate were simply no longer available. During the war, men were called up. Many working-class women went to work in munitions factories or offices, where they earned a great deal more than they had “below stairs”. When peace came, many of these women were reluctant to return to domestic service with its low pay and many restrictions. Those included “no gentlemen callers” and only half a day off a week from their long hours, spent at the beck and call of frequently ringing bells, summoning a servant to respond to a member of the family’s needs in double-quick time. The attitudes of young, upper-class women were also changed by the war. Many had served as nurses; Lady Muriel, for example, trained as a nurse and worked at Gordon Castle, which became a military hospital during the war, looking after the wounded soldiers convalescing in the grand rooms where the Gordon Lennox family had previously entertained their house guests. Some would be reluctant to relinquish the idea of a career and would take up the slowly emerging opportunity of worthwhile jobs and more freedom away from home. Others would seize a different kind of freedom during the following decade, living hedonistic lives as “bright young things” – a sharp contrast to both their wartime lives and the formal, straight-laced restrictions of Edwardian upper-class life. War and social change impacted on the Gordon Lennox family directly. After penning her “Reflection of the Golden Age”, Lady Muriel Beckwith would go on to write recipe books,
‘We were born in a fortunate hour, when the haunting cruelty of war had not destroyed the leisure, the spaciousness, and the dignity of the country-house life’ – Lady Muriel Beckwith
Left: Lady Muriel Beckwith, daughter of the 7th Duke of Richmond, leaves Goodwood House for a day at the races, in 1906. Top: Gordon Castle, which was sold off in 1938 to pay crippling death duties. Above: Charles Webster, one of three generations of Webster head gardeners at Gordon Castle, with his family
THE COUNTRY HOUSE
in itself a departure from the social mores of her aristocratic childhood, in which hostesses were not expected to know how to cook. Grief also came to Goodwood, at the very start and in the aftermath of the conflict, with the 7th Duke losing both a son and a grandson. Career soldier Lord Bernard Gordon Lennox died in November 1914 in the early months of trench warfare in Flanders. Charles Gordon Lennox, Lord Settrington – in line to succeed his grandfather and father as Duke of Richmond – succumbed to gangrene on a hospital ship, having been wounded in the British intervention in the Russian Civil War in 1919. Then, to the great consternation of his parents, Charles’s younger brother, Freddie, who was next in line, quit Goodwood House, with its Gobelin tapestries and ancestral portraits, to learn a skill and work as a mechanic with Bentley Motors, refusing to return home even when his parents cut off his allowance. Ultimately, this lifelong love of all things automotive would offer the Goodwood Estate a new lease of life. But in both Goodwood and Gordon Castle, things would get worse before they got better, and that Edwardian era of elegance – that opulent whirl of house parties and balls and shoots – was drawing to a close. The reason was partly economic. In 1938, Frederick Gordon Lennox, by now 9th Duke of Richmond and 4th Duke of Gordon, had to sell off Gordon Castle to pay the crippling death duties. But the mood had also changed. As Lady Muriel put
in massive tiaras” delivering ruthless snubs to social climbers or women they deemed fast. “Nowadays all this is changed.” And Lady Muriel, for one, didn’t miss it. The economic pressure on landowners in the 1920s and 1930s was a genuine concern. With the price of agricultural land continuing to fall and taxes on the rise, many country houses faced bankruptcy or, at best, an endless struggle to survive. This, of course, was the era when Noël Coward sang:
it, from the war onwards, “cheese-paring [being careful with money] became not a vice but a virtue”. She also devotes an entire chapter in her memoirs to what she calls “The Passing of the Grand Manner”. This was “a thing rather to be experienced than put into words”. Or perhaps seen, by comparing the posture and clothes in the group photographs from two house parties at Goodwood – in the 1900s and in the 1930s. For Lady Muriel, the Grand Manner was a world of stiffness and formality, especially with social inferiors, and of “dowagers
We’ll stand By the Stately Homes of England.
The Stately Homes of England, How beautiful they stand, To prove the upper classes Have still the upper hand; Though the fact that they have to be rebuilt And frequently mortgaged to the hilt Is inclined to take the gilt Off the gingerbread, And certainly damps the fun Of the eldest son – But still we won’t be beaten, We’ll scrimp and scrape and save, The playing fields of Eton Have made us frightfully brave – And though if the Van Dycks have to go And we pawn the Bechstein Grand,
In both Goodwood and Gordon Castle, things would get worse before they got better. That Edwardian era of elegance, the house parties and shoots, was drawing to a close
Left: a record crop of Dalmeny oats at Goodwood’s Home Farm, August 1916. Opposite: Ladies Violet and Evelyn Gordon Lennox in Scotland, 1885
THE COUNTRY HOUSE
Ultimately, not everyone could stand by their stately homes. For those country-house owners who felt they could no longer afford to hang on to their ancestral seats, there were limited options. The house could be sold – and transformed into a boarding school, or a hotel, or in later decades, a conference centre. Or perhaps it might be bought by “new money” – by plutocrats with a taste for the country-house life. Another choice for the impoverished country-house owner was to give
the property to the National Trust – founded as early as 1895 – which would save many country houses by taking them on in the middle decades of the 20th century. But hundreds of houses were demolished by owners unable to imagine a future for them in an era of high income tax and high death duties – their collections dispersed in massive countryhouse sales. During the 20th century, at least 1,000 country houses were demolished in England, and 200 in Scotland after
THE COUNTRY HOUSE
1945 alone. Some owners knocked down parts of their houses in an attempt to make them more manageable. This happened at Woburn, for example, and at Goodwood House, where in the late 1960s the 10th Duke reluctantly removed the north wing, which was riddled with dry rot. Part of Gordon Castle was also demolished after World War II, having fallen into disrepair. But Woburn Abbey, Goodwood and Gordon Castle also show how some country-house owners were able to devise
Below: nurses and soldiers at the lake at Gordon Castle, which became a military hospital during the war. Lady Muriel trained as a nurse during this time
ways of changing the economics of the country house and its estate. To encourage tourists through the door, the owners of country houses needed to offer more than the opportunity to appreciate the architecture, gardens and fine interiors – and needed to present more ambitious activities. Safari parks were developed at Woburn and at Longleat. Gordon Castle’s fortunes were revived when another branch of the Gordon Lennox family bought it and restored it. They now run the castle as a luxury destination, offering superb fishing as well as accommodation. The Goodwood Estate would undergo its own transformation, and once again flourishes as a key part of the local economy. Goodwood always had one key advantage: its long-established reputation for horse racing. For generations, Glorious Goodwood and other race meetings have drawn large crowds. Edward VII
Above: a race week house party at Goodwood in 1933. The 8th Duke of Richmond is standing, wearing a Panama hat. In contrast with the photograph taken 16 years earlier, formal grandeur has given way to a more relaxed atmosphere
tried never to miss a race, nor fail to place a bet on a horse – often successfully. Then, as early as 1901, the 6th Duke of Richmond chose to throw open the Estate yet further, inviting a nearby golf club to relocate to Goodwood where a short 18-hole course was laid out. Golf, shooting and other activities on the Estate expanded under the 9th and 10th Duke, while organic farming was introduced by the now Dowager Duchess during the 1980s. In the 1940s, the 9th Duke brought a different kind of racing – and a different kind of horsepower – to Goodwood. The former mechanic and racing driver turned the perimeter road around the decommissioned RAF airfield on the estate into a Formula 1 racetrack. That came to a close in the 1960s, but Festival of Speed, and then Revival – along with the year-round activities both off-road and on the motor circuit – drew inspiration from Goodwood’s automotive heritage. Ironic, then, that Frederick Gordon Lennox’s passion for cars, which his parents had thought so unsuitable for the heir to Goodwood, but which his grandson the 11th Duke shares, would prove so instrumental in making the Goodwood Estate today a flourishing concern. Juliet Gardiner is the author of “Wartime”, “The Edwardian Country House”, “The 1940s House”, “The Thirties: An Intimate History”, and a memoir, “Joining the Dots: A Woman In Her Time”.
Where the historic and modern are equally valued.
The elegant ensemble of 224 years of live auctioneering, embracing both the in-person experience and the accessibility of digital.
THE FIAT 500
The mouse that roared Since its launch 60 years ago, the Fiat 500 has changed the face of Italian urban life. Stephen Bayley looks back at the iconic design – celebrated at this September’s Revival – that remains a potent symbol of Italy’s postwar optimism
Bumper edition: to mark its 60th anniversary, the Fiat 500 was celebrated at this year’s Goodwood Revival in a rainbow-coloured parade
THE FIAT 500 WAS DEFINED by Italian townscapes: its tiny dimensions allowed it to cope with the narrow streets and alleyways of cities such as Florence or Naples. It was also designed with Italian passion: a product conceived without cynicism, but with a simple belief that ordinary things can be beautiful – as was demonstrated when so many pristine examples of this gamechanging car were paraded by their proud owners in honour of its 60th anniversary at Goodwood Revival this year. This nuova cinquecento of 1957 was the successor to the great Dante Giacosa’s original 500 of 1936, known as “topolino” or “little mouse”. The smallest car in the world at the time, this first
front-engined 500 weighed just 535kg and could carry two people and 50kg of luggage at 85km/h. The nuova cinquecento was conceived for a very different world from Giacoso's Mussolini-era topolino. This was the Italy of the ricostruzione, the postwar rebuilding, and it was necessary, first, to motorise the citizenry and, second, to provide Italians with agreeable symbols of much hopedfor national renewal. Corradino d’Ascanio’s Vespa scooter, designed using aeronautical principles, was the first machine to meet this brief; the nuova cinquecento, designed to be just a little bit more comfortable than a Vespa, was the second. A disciplined and committed engineer, Giacosa had a fundamental disapproval of excess and
This simple construction was visually interesting – the nuova cinquecento was a model of intuitive genius
PREVIOUS : HARRY ELLIOT; RIGHT: NICOLE HAINS; BELOW: RICHARD PARDON
THE FIAT 500
THE FIAT 500
spoke eloquently about the quest for simplicity. He understood every aspect of the motor car, but took a special interest in body construction, designing panels that were cheap to manufacture with minimum waste. But, very cleverly, he somehow made this simple construction visually interesting. Astonishingly the 500 deploys nearly flat glass, but pinching and contouring of the body creates an effect of sculpted generosity, rather than a frugal metal box. Interestingly, Giacosa would come to dislike computers, saying they were only capable of rapidly verifying results, not of anticipating them. The nuova cinquecento was a design of intuitive genius. The full-size wooden styling buck used to determine the final form of the body still exists, a haunting reminder of how car design was once done. Yet the 500 was forward-looking too: it was launched on live TV at Fiat’s Lingotto plant in Turin with Giacosa presiding. The 500 revolutionised Italian life and won the Compasso d’Oro design award in 1959. It stayed in production, largely unaltered, until 1975. When, in 2007, Fiat decided to revive the 500, the technology was very different, but Roberto Giolito’s new design paid frank homage to the original. You still see them today, in cheerful colours, animated, charming and useful. Not just one of the greatest cars to roll off a production line, but one of the greatest designs… ever.
A taste of Italy (above and opposite): the flags came out and the roofs were rolled down as the Fiat 500 came out in force at this year's Goodwood Revival
NICOLE HAINS; STEPHANIE O'CALLAGHAN
THE FIAT 500
Goodwood is a magnet for sports enthusiasts, and when it comes to the firms making equipment for those pastimes â€“ from cricket bats to rifles â€“ skilled British artisans are still creating them by hand Words by Alex Moore
Photography by Jake Curtis
Previous pages: the master cricket bat maker Chris King, who swapped photography for his new trade; his new Nemesis model designed for England and Kent wicket-keeper Sam Billings Opposite page: Dick Crosthwaite (right) and his son, Ollie, of the historic car restorers Crosthwaite & Gardiner with the 1969 E-type from their private collection. Below: the steering wheel from the same E-type
Chris King MASTER CRICKET BAT MAKER | EAST SUSSEX Understanding cricket players' psychology has equipped Chris to make the best – and meanest – bats in the sport Cricket is a sport steeped in ritual. Fans will be familiar with Steve Waugh’s lucky red handkerchief, or Jonathan Trott’s pre-batting rituals; some may even recall Neil McKenzie taping his bat to the dressing-room ceiling. But really, the mind games begin long before that – at the bat makers. Chris King is a master bat maker (or pod shaver, as they’re traditionally known) at Sussex-based sports brand GrayNicolls, the oldest cricket bat maker in the world. He makes bespoke bats for both amateur and professional cricketers around the world, taking great care to accommodate the individual whims of different batsmen. One of King’s longest-serving customers is former West Indies captain, Shivnarine Chanderpaul. Like so many batsmen, he insists on the bat face being a certain number of grains across (13 in his case), he likes his bat to have some “red” wood along the edge, and numerous other minute specifications. King might have to measure and weigh up to 800 clefts (roughly cut bat shapes – about 40 of which come from a single 15-year-old willow tree) to find the perfect one. “I’m an appalling cricketer and rarely play,” says King. “But that helps, as cricketers pick up strange ideas about bats that have no logical foundation: it’s all nostalgia or hearsay. I don’t have that, so I can be objective when building them.” Despite coming to the pod-shaving game relatively late – King trained as an antiques restorer before spending 15 years as a photographer – he quickly made a name for himself. “Bats had all started to look very similar,” he says. “I wanted to design a bat that looked aggressive, powerful, violent even… One the bowler would see and think, ‘Look at that thing! It’s going to punish the ball if I do this wrong.’” With that in mind, he designed the Nemesis, a stealth bomber of a bat with chiselled cheekbones and an unrivalled mass in the power zone. “You tend to find flamboyant players using it,” says King proudly. “Players not lacking a bit of confidence.” Exactly the sort of players you want using your bats after only five years in the business.
Crosthwaite & Gardiner HISTORIC CAR RESTORER | EAST SUSSEX Restoring cars in the way it was done in the halcyon days of motor racing has made this duo the masters of spare parts
“Making ’em like they used to,” is the name of the game at Crosthwaite & Gardiner, one of the world’s leading historic car restorers. It’s likely that anyone racing a pre-war Bugatti, Auto Union, Lotus or Mercedes will have parts built at the company’s Sussex workshop, and if they’re competing at Goodwood, the chances are the C&G team will have built and fitted those parts. “They don’t make them [historic engines] any more,” the late John Gardiner once said. “So if we stopped, so would most historic racing.” Fortunately, Dick Crosthwaite and his son, Ollie, haven’t stopped. They and their engineers and mechanics continue to develop, even improve these car parts of old. John and Dick started the business in 1969, with the former building the parts and the latter assembling them. “We were very lucky with our first customers,” says Dick. “The Honourable Patrick Lindsay [former head of the Old Masters department of Christie’s London] and a guy called Neil Corner were both very good drivers, and not short of funds. They always used to win, so everyone thought it must be because of the chaps doing their cars. Thanks to them, we got lots of great cars in.” Among these great restorations are a few noteworthy examples, not least Ralph Lauren’s Bugatti 57SC Atlantic Coupé and the Buckminster Fuller-designed Dymaxion. In this instance, they built the whole car from scratch, at the request of Lord Norman Foster. Meanwhile, at the back of the workshop, you’ll find the Crosthwaites' private cache. The collection includes Coopers, Brabhams, Speedsters and a wonderful 1934 Frazer Nash. “I started building that in 1973,” says Dick, pointing to a dusty E-type with a mechanic hanging from its bonnet, “but the furthest I’ve driven it is from one side of the workshop to the other. I’ve been there and done it – I’ve driven enough customers’ cars to know exactly what it’s going to be like. Besides, their cars always come first.”
Above: the nuts and bolts of historic car restorers Crosthwaite & Gardiner. Opposite: a 1959 Cooper Monaco stripped down and ready for restoration
Frank Baines BESPOKE SADDLE-MAKER | WALSALL He started by making two saddles a week in his kitchen. Now his company exports saddles to over 40 countries worldwide Walsall is a town built on leather. In 1900, when the cavalry still wore jodhpurs, approximately 10,000 of the town’s people worked in the leather industry – and 7,000 of them were saddle makers. Such was the significance of the trade, Walsall’s football team even became known as The Saddlers. Today there are around 40 saddle manufacturers in the town. Some of the larger outfits have turned to machinery, but most still cut and stitch their saddles by hand. Frank Baines has saddle-making in his blood – his family has been involved with the trade for almost 150 years. “My grandfather was a bridle-maker, and it was he who first sparked my interest. I did a six-year saddle-making apprenticeship straight out of school,” says Baines. “I then started the company with my wife and we now employ my son and his wife, and my daughter and her husband. It really is a family business.” Frank Baines Saddlery is one of the UK’s leading producers of handmade saddles for dressage, jumping and eventing disciplines. The company exports its saddles to more than 20 countries worldwide, though it has taken them the best part of 40 years to get to this point. “My wife and I started making saddles in our kitchen at home,” says Baines. “We’d probably only make a couple a week at that stage. Now we send out around 100 saddles every month, and they’re all made-to-order.” Baines’ workshop is a well-oiled production line. His leather cutter, for example – whose job it is to scalpel out the 90 patterns for each saddle – has been with the company for more than 20 years. He passes on the patterns to the saddle makers – many of whom are also veterans of the trade – who arrange and sew together the facings, panels and gussets before stuffing them with flocking and stretching them over the tree (the skeletal wooden frame of the saddle). During the process, 15 metres of machine stitching, 850 hand stitches and 400 tacks go into the finished article. Over the years, the company has picked up countless awards for its innovative approach to saddle making, including winning the prestigious Best Made Saddle Competition, held by the Worshipful Company of Saddlers, on no fewer than seven occasions. These days though, Baines is more concerned with educating the next generation of saddlers, and continuing to perfect the contact between horse and rider. “It’s all very well having these exotic leathers and fancy flaps – and we can do that,” says Baines. “But for riders to compete and be successful, the most important thing is, and always will be, the comfort of the horse.”
Opposite page: the bespoke saddle-maker Frank Baines in his Walsall workshop. Above: a covered English hide flap
Opposite page: a horse's individual measurements are used to create a 'tree' that forms the skeleton of each saddle. Above: tools of the trade â€“ mashers, thimble, round knife, bulldog pliers, awl, compass and hammer
Westley Richards & Co GUNSMITHS | BIRMINGHAM After building his first rifle at 14, Sam Banner knows his trade lock, stock and barrel. Now he's the foreman in a company whose guns take seven years to build and are considered high art
Above: gun-maker Sam Banner with leather worker Asia Dzwonkowska at the company's HQ in Birmingham
A precocious Sam Banner built his first rifle – a Mauser 98 .257 – when he was 14. Not long after, his enthusiasm earned him a job at the oldest gun-maker in Britain, Birmingham’s Westley Richards & Co. “I got into gun-making because my father owns a gunsmiths,” says Banner. “Then, when I was 16, I got the chance to work for a company that’s more like RollsRoyce – which was certainly better than staying at home, working on Ford Mondeos.” He checks himself. “Actually, I’d say Westleys are more like Morgans – handmade in the Midlands with loads of soul.” Westley Richards is a company whose guns are considered high art; they take up to seven years to build and are decorated by an engraver who is booked up for the rest of his life. Yes, these are guns for sport – Ernest Hemingway would attest to that – but they’re also exhibition-grade guns to treasure in lavish cases, as their price tags would suggest. “Our customers are buying something nobody else can have,” says Banner. “They always want something better than the last one, so they’re always pushing the bar.” More often than not, this means decoratively – a recent commission asked for solid gold from muzzle to breach. At 27, Banner is one of the oldest gun-makers in the company, and as foreman he’s responsible for overseeing the different areas of production and modernising the process. “It’s an old trade, the skills are dying out,” he says. “We now take on apprentices, so if you want to get into gun making, this is one of the only places you can really do it.” And what a place it is: the company’s new purpose-built factory – with leather workshop, subterranean shooting range and retail store – is one of a kind. “It’s a job for life, if you like it,” says Banner. “If not, you can always go and be a jeweller – lots of the skills are transferable.”
Checks are enjoying a revival – in town and country. From tartans to dogtooth, their trad image has been updated on slip dresses, trench coats, even ballgowns. Trust us, you’ll never look square again
“I’M NOT REALLY A CHECKY PERSON,” my friend Frank said to me the other day. “Maybe it’s because I’m not... thin,
it for a while. Now the time feels right for a revival. If you, too, are not a checky person, Burberry would be a good place to start in trying to persuade yourself, particularly if you’re worried about checks being fusty and old fashioned. Its checked caps, windcheaters, pencil skirts and ponchos look totally modern, because the garments themselves are. On a similar tip are the checks at Calvin Klein – Raf Simons, who has taken on the design mantle, can do no wrong at the moment, and his women’s doublebreasted Prince of Wales checked blazers look ace. If you wore one with a plain white T-shirt and a pair of cropped-tothe-ankle jeans, you’d look like a fashion editor en route to a meeting. Or for a show-stopping piece, you could join the waiting list for Simons’ grey Prince of Wales check trench coat, which comes with a transparent layer of PVC over the top. It’s £2,350 – and has already sold out. The Calvin Klein trench is one of many examples of the way checks have been modernised this season. Banish all thoughts of Miss Trunchbull, your grandad and, indeed, Rupert the Bear: the best checks for winter have nothing in common with them. Even my least favourite example of the genre – windowpane – has been given a new lease of life, courtesy of Valentino and Miu Miu, both of whom used windowpane checks on knitwear with strong graphic effect. More pleasing still is that a fabric traditionally used for
but checks always make me feel like Rupert the Bear.” I looked at him afresh. To be fair, his body was a little bearlike. But I could never say so. Besides, Frank is very fashionconscious and the catwalks have decreed that, this season, checks are having their moment in the sun. Rather than saying, “Why don’t you drink less beer and go to the gym more?”, a more constructive approach would be: “Let’s find some checks that work for you, Rupe – sorry, Frank.” I’m not really a checky person either. This may be because I consider myself a city person, not a country person. Checks have strong associations with the countryside, from the lining of so many Barbours to the Tattersall shirt – so called because blankets made of this small check were sold at Tattersall horse market in the 18th century to cover the horses. And glen plaid, a very distinctive design, got its name from outfitting gamekeepers in the Glenurquhart valley in Scotland. You may know it better as Prince of Wales check – as Edward VII (prior to his coronation) discovered it while shooting in the valley, and made it his signature. And as I said, this season checks are everywhere, in town and country. And from the moment the last checked cap had disappeared down the catwalk at Burberry, I’d resolved to dig out all the old Burberry house checks I possessed (wasn’t there a bikini languishing in a drawer?) and give checks another chance. That Burberry has reclaimed its house check after a long hiatus is significant: outgoing CEO Christopher Bailey always insisted Burberry is for everyone, but photos of low-rent celebrities wearing it throughout the Nineties seemed to have deterred the brand from promoting
suiting is cropping up in unexpected places. Plaid Gucci ballgown, anyone? Checked Ganni slip dress? Prince of Wales checked Tibi corset? Maybe even the Duchess of Cambridge will get on board the checked train this season. One of her favourite designers, Jenny Packham, has the perfect plunge-fronted ballgown waiting in the wings. There are so many variants, even the staunchest checkophobe may be seduced. If you’re not really a print person, start off with an accessory, such as Comme des Garçons’ plaid clutch bag, Stella McCartney’s Falabella shoulder bag or Loewe’s distinctive red-and-black checked scarf. Next, you could try graduating to a knit. A textured knit, such as mohair, will soften the harsh appearance of a check, leaving you feeling less like a chessboard. One of the most understated ways to wear checks is via a simple shirt: Balenciaga and Prada both have good ones, in subtle hues. Unless you’re particularly confident, or dress purely in a way that’s designed to look striking on Instagram, you will probably avoid integrating more than one check into any given outfit. As with any print, checks are most easily worn with solid colours. A checked maxi skirt such as Marni’s would work well with a black polo neck, while the formality of a tailored checked jacket such as Alexander Wang’s could be offset with jeans. Don’t rule out a checked coat, either: the dream would be Stella McCartney’s oversized version, or for a more informal take, you could try Isabel Marant’s cocoon coat. Either would update your wardrobe to perfection: you could wear almost anything underneath, and still look modern. Although perhaps not a Rupert the Bear waistcoat.
Words by Laura Craik
The check list 76
Clockwise from far left: sophisticated checks from Jenny Packham and Calvin Klein; Burberry reclaims its house check with caps and raincoats; detail of a Stella McCartney dress, backstage at Jenny Packham AW17
Crepe-satin dress with bow-tie neck, ÂŁ1,795, from ROKSANDA, available at matchesfashion.com
T H E B E A U T Y O F G O O D W O O D H O U S E I S T H E P E R F E C T B A C K D R O P F O R T H I S S E A S O N â€™ S M O S T D R A M AT I C C O LO U R
R E D
Photographer Paul McLean
Stylist Florrie Thomas
Opposite page: detail of the harp in the music room Above: red velvet jacket, £1,165, and red velvet trousers, £620, both by STELLA McCARTNEY, available at net-a-porter.com; red tassel scarf, £165, by ROCKINS, rockins.co.uk; red satin and rose-gold shoes, £445, by MALONE SOULIERS, available at ounass.com; 24K gold Jaja earring, £350, by ALIGHIERI, alighieri.co.uk
Crepe-satin dress with bow-tie neck, £1,795, by ROKSANDA, available at matchesfashion. com; 24K gold Lost Dreamer ring, £280, by ALIGHIERI, alighieri.com; blue and gold dangle earrings, £155, by JOANNA CAVE, joannacave.com
Opposite page: chandelier in the ballroom Above: red velvet body with black ribbon, £800, by JOHANNA ORTIZ, available at mytheresa.com; silk pants, £1,055, by VALENTINO, available at mytheresa.com; 18K yellow-gold pendant with round brilliant diamonds and a single fancy yellow rough diamond, £2,575, by DE BEERS, debeers.co.uk
Previous pages: garnet floral jacquard coat with black satin bow ties, £2,100, by ALTUZARRA, available at ounass.com; drop earrings, £250, from MULBERRY, mulberry.com
Above: grand drapes in the ballroom Opposite page: red and purple velvet dress, £1,355, by ATTICO, available at brownsfashion.com; burgundy knee-high boots, £995, by JIMMY CHOO, jimmychoo.com; gold large disc necklace, £165, by ELIZABETH AND JAMES, elizabethandjames.com; 24K gold Floating Questions ring, £350, by ALIGHIERI, alighieri.co.uk
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PHOTOGRAPHER’S ASSISTANT: DARREN SMITH STYLIST’S ASSISTANT: HOLLY GORST HAIR: KEIICHIRO HIRANO MAKE-UP: CLARE READ AT CAREN AGENCY MODEL: CARLA CIFFONI AT IMG MODELS SHOT ON LOCATION AT GOODWOOD HOUSE
Opposite, Sam Worthington-Leese: ‘I’ve always seen myself as a Battle of Britain pilot who was born too late’
Restoration man For Goodwood flying instructor Sam Worthington-Leese, building the world’s only airworthy Hawker Typhoon isn’t just a labour of love, it’s a chance to honour his grandfather’s World War II valour Words by Guy Walters
Above: 184 Squadron pose with a Hawker Typhoon. Sam’s grandfather, Roy Worthington, is far right of the centre row
Photography by David Goldman
WAR HAS LITTLE RESPECT FOR WEEKENDS. Rather than being allowed to lie in on the morning of Sunday 21 May 1944, the pilots of 184 Squadron of the Royal Air Force were ordered out of their beds at RAF Westhampnett near Chichester in West Sussex and told to fly some 200 miles to the Dutch coast near Antwerp. Their mission was straightforward – to perform a “fighter sweep”. In layman’s terms, this meant popping below the clouds and looking for easy prey, such as railway engines, tanks, lorries, barges, enemy troops – and then destroying them. The squadron had the perfect tool for the job: the mighty Hawker Typhoon. Equipped with four 20mm cannons, up to eight rockets and two bombs, the fighter-bomber packed a fearsome punch. It even struck fear into the heart of Rommel, who would later that year blame the Typhoon for his inability to move his armour during the Battle of Normandy. Piloting one of the Typhoons that morning was a 24-year-old officer called Roy Worthington. A veteran of the campaign in North Africa, during which he had broken his back after parachuting from a Hurricane, Roy, was a highly experienced pilot who had risen through the ranks before being commissioned the previous November. Proud he may have been of his commission, but Roy would have been prouder still of Margaret, his WAAF sweetheart, whom he had married just a few weeks before. Now there was another reason not to be shot down.
The Hawker Typhoon ‘was a key component of the Allied victory. It also looked terrific – mean and ferocious’
'The whole thing is fantastic. It's the one aircraft – more than any other in the world – that I want to see flying again' that Sam is a man born after his time, and that he’s trying too hard to emulate his grandfather. As it happens, Sam is unapologetic. “I’ve always seen myself as a Battle of Britain pilot who was born too late,” he admits. “And I’ve always been fascinated by the military side of flying, especially with the Second World War. In fact, my primary reason for joining the RAF was to fly with the Battle of Britain Memorial Flight.” Although austerity may have scuppered that particular dream, Sam’s research has now given rise to the possibility of living an even more spectacular one – to fly a restored Typhoon built to some extent from the parts of his grandfather’s plane. For it was via that obscure internet forum that Sam met Dave Robinson, who had long collected old pieces of Typhoon with a view to making a replica of a cockpit. “Every single Typhoon was scrapped after the war,” says Sam, “and Dave has always been keen to educate people about this aircraft.” In 2010, Dave’s plan was given an unexpected boost when an extraordinary discovery was made on a skip at the old Hawker aircraft factory in Kingston-upon-Thames. Contained in seven large drawers were some 11,500 technical drawings, of which 2,500 were of the Typhoon. These showed an enormous amount of detail of how the plane was built, and Dave realised that if he bought them, it would be possible to build not just a cockpit, but a whole actual plane – and what was more, a plane that could actually fly. It was from that moment that the scheme to produce the only airworthy Typhoon in the world was born. When Sam joined the project – along with Jonathan Edwards, a professional draughtsman and aerodynamics engineer – what had been a hobby now became a serious enterprise. A charity was established, with a goal to raise
£6 million and to have the Typhoon in the air by 2024 – the 80th anniversary of both D-Day and Roy Worthington’s flight. There is no doubt that the project is enormously ambitious. “People say we’re mad and that it’s going to be difficult,” says Sam. “And we just agree. Of course we’re mad. We always say if we want an easy life, just rebuild a Spitfire, which these days are almost coming off a production line.” There will doubtless be plenty of obstacles, not least because the Dutch collector had already sold many of Sam’s grandfather’s Typhoon’s parts to the legendary American collector Kermit Weeks. But thanks to the drawings and the parts that the team already has salvaged from numerous Typhoon remnants, there is no reason why the plane cannot be built if the money is raised. Warbird enthusiasts are salivating at the thought of a Typhoon taking to the skies. “The whole thing is fantastic,” says the leading World War II historian and TV presenter James Holland. “Nothing would give me more pleasure, and it’s the one aircraft, more than any other in the world, that I want to see flying again. It was just an awesome aircraft. It wasn’t only a key component of the Allied victory, it also looked terrific – mean and ferocious, like a beast.” Of course, the most excited person of all is Sam. When he sits in that Typhoon in 2024, flicking the very same cockpit light switch that his grandfather would have touched, he will no doubt feel a shiver down his spine. But Sam is insistent that the project is not just some boys making a very special toy.“We’re not just building this plane for the hell of it,” he says. “This is intended to be a living memorial to all those who died flying the Typhoon.” hawkertyphoon.com
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The secret life From their cawing cries to their twig-etched nests, rooks are an essential part of the winter 96
Woodcuts by Jonathan Gibbs
landscape. Simon Barnes pays homage to these deeply social, most misunderstood of birds
We always have affection for birds determined to hurry on the spring. Rooks do this in a gloriously dramatic way
ROOKS ARE MANY. THAT IS THE CORE – note this happy choice of words – of their strategy for survival. A rook’s deepest desire is to be a flock: to be one of 100 or 200 birds caw-cawing to each other as they darken the skies with flying displays that celebrate all the glories of being many. There are three rookeries on the Goodwood estate: one at Seeley Copse, one at Halnaker Park and one – of course – at Rookwood. All these sites are ancient woodland and Rookwood’s presence on a map of 1629 seems to imply a continuous presence of rooks for at least four centuries. There is a knack to watching a flock of rooks. At first they
birds of farmland. You don’t see them much in open country or in towns: but where there are fields and hedges you tend to find rooks. It follows that we have ambiguous feeling towards them. They are soothing, homely birds that are also seen as pests. At Goodwood the rooks feed copiously around the organically farmed crops, taking invertebrates from the cultivated soils, many of which are damaging to growing plants. But being omnivorous and versatile beasts, they switch to the corn itself as it ripens, and farmers find that less sympathetic. Bird-scaring is an ancient part of our culture: the scarecrow was invented
seem an anarchic mass, each bird chaotically pursuing its own ends in a mad flurry of noise and activity. But watch more closely: pick out one bird from the flock and follow its movements and you realise that everything it does is associated with one other bird in the flock. Rooks are intensely social, but within that social structure they are tightly paired: mate-for-lifers whose priority is the flock of two that lies within the flock of many. The flocks make their nests together, not in vast cities like seabirds, but in companionable treetop villages. At dusk you can hear them talking to each other – it’s been claimed they have 30 separate vocalisations – with a pleasing busyness. These are birds with a settled place in the world and a clear sense of their shared identity. In other words, we see something of ourselves in rooks. The first thing to understand about rooks is that they’re not crows: the two species are much confused, in the past and right now. Carrion crows operate in highly mobile pairs rather than flocks. There are many versions of the saying that celebrates their differences: “Whan thass a rook thass a crow, and whan thass crows thass rooks.” Both species caw, but they caw differently: the crow’s caw is harsh and shouty and sounds like a swearword – generally one repeated three times. The rook’s caw is more mellow, more suited to life with multiple neighbours. They look noticeably different too: crows are sleek and completely black, with a shiny black beak: rooks have a beak the colour of an old bone and it seems to take up most of their face. They are less dapper than crows, with baggy feathers and what looks like a pair of short trousers. Rooks are essentially birds of the humanised landscape:
not to scare carrion crows in ones and twos, but to frighten off rooks in their marauding flocks. Yet at the same time, there is something benign about the presence of rooks. We always have an affection for birds that seem to defy the winter, birds that seem determined to hurry on the spring as fast as they can. And rooks do this in a gloriously dramatic way. Even while the branches are still bare, they’re are hard at it, building or repairing nests, sometimes filching twigs from each other – one rook rooking another rook – and generally getting their eggs laid by the end of February, in what seems an astonishing act of courage and faith. The frost may have hardened the ground, but as you walk beneath the great trees of a rookery – elm trees, traditionally, but alas all gone now – you hear the rooks getting on with the bustling and joyous business of making more rooks, and it’s an unlucky person who fails to rejoice in such circumstances. Ugly birds, some say, when they’re seen plain with that great beak sticking out, reminding us perhaps of our ancient fears of overwhelming nature, a terror caught for all time by the Alfred Hitchcock film The Birds. But then you see a rook – or many rooks – caught in a shaft of sunlight, and the birds are lit up with iridescence, assuming a royal purple. And then they’re off, flying to a place that might be 20 miles away – as the crow flies, and in this phrase, crow once again means rook. The air is full of their soft cawing as they travel in pairs and as many towards their distant rookery. Simon Barnes’s book, The Meaning of Birds, is on sale now, published by Head of Zeus
FOOD AND DRINK
Since the launch of his Marlow gastropub in 2005, Tom Kerridgeâ€™s local, seasonal approach has altered our culinary landscape. Charlotte Hogarth-Jones talks to the two Michelin-starred chef about his bold new venture and the feast heâ€™s hosting at Goodwood Photograph by Matt Sills
FOOD AND DRINK
“THERE’S NO SUCH THING AS A ‘lesser’ cut of meat any more,” says Tom Kerridge, the great British chef who rocketed to fame when his hearty, no-nonsense gastropub in Marlow, The Hand and Flowers, became the first pub ever to gain two Michelin stars back in 2012. Kerridge proved to critics that fine dining didn’t have to mean fussy, and his warm, welcoming style changed the culinary landscape of Britain. Today, he’s a man with fingers in numerous pies. He regularly appears on the BBC’s Saturday Kitchen, and Great British Menu, while presenting two of his own BBC series – Tom Kerridge’s Proper Pub Food and Spring Kitchen with Tom Kerridge. What’s more, unlike a number of high-profile British chefs, he spends plenty of time in his own kitchen too. “Some pieces of meat need more attention to get the best out of them, but it’s important to use the whole animal,” he says. “The team at Goodwood absolutely celebrate that; it’s lovely to be working with people who have the same ethos, the same heart and soul.” Kerridge already comes up to Goodwood regularly, as his wife, the sculptor Beth Cullen Kerridge, often exhibits at the neighbouring CASS Sculpture Foundation. Collaborating with Goodwood isn’t just about business, he explains, it’s also about a shared passion for great food and a mutual appreciation for good-quality ingredients cooked beautifully. In fact, that’s exactly what will be appearing on the tables at the special dinner Kerridge is hosting at Goodwood with chef Darron Bunn this winter – a feast that pays tribute to the Estate’s world-class produce. The pair are developing recipes for the menu now. “We’re trying to build from dessert backwards,” says Kerridge, “because we want every dish to be connected with the animal somehow. Maybe we’ll do a suet pudding or a Gloucester lardy cake.” There’s far more to Kerridge’s unique style of cooking, though, than simply serving up big platters of meat. His dishes often combine classic cookery techniques with a contemporary twist – think loin of Cotswold venison with black pudding, salt-baked carrot, keema pie and lime pickle, or a delicate lovage soup with Bramley apple, smoked eel, and ham-andcheese tortellini. At a time when every customer has a dietary requirement of some kind, you have to be flexible to thrive as a restaurateur, Kerridge explains: “It’s part and parcel of being in the industry today.” He himself famously lost 12 stone by cutting back on alcohol and carbohydrates. So does he really think red meat can be part of a weight-loss plan? “Absolutely,” he insists, “whether you’re doing low fat or low calorie or low carbohydrate – the important thing is, you stick to one diet, and don’t mix them.” Building on the success of The Hand and Flowers, Kerridge is now opening a bold new venture in Marlow – a high-street butchers and delicatessen, and an oldschool country pub, collectively named The Butcher’s Tap. “I’m not necessarily trying to push meat,” he explains. “This is much more about reviving the great British high street – somewhere you’d find an excellent greengrocers, bakers, fishmongers and, of course, a butchers, as well as a pub that you can just walk into whatever you’re wearing, and nobody gives a toss.”
Does he feel nervous going into retail for the first time? “I would, because I’m no expert, but my butcher Andy Cook knows exactly what he’s doing. He’s a thirdgeneration butcher who’s been in the trade for over 30 years. In fact, he’s pretty much ancient,” he laughs. “With his experience, it’s like he’s been a butcher since before the Roman Empire!” It’s been a thrill for Kerridge to cut out the middle man for a change, to go directly to suppliers and producers and to source outstanding produce directly – from great British charcuterie to Copas Turkeys just in time for Christmas. “We’re just one small butchers, so sadly we don’t have the buying power of a major supermarket,” Kerridge explains, “but more and more people understand that good food isn’t cheap, and that provenance is important. OK, so you could buy four chicken breasts all clingfilmed up and have no idea where they’ve come from, but we can tell you the region, the farmer, maybe even the chicken’s name.” Of course, the produce will be the backbone of the pub too, with honest pub classics and Sunday roasts on
'I'm not necessarily trying to push meat. This is more about reviving the great British high street' the menu, plus tasty snacks – hot pork pies straight from the oven, sausage rolls, scotch eggs, hotdogs. In short, anything you can eat with one hand while competing in the pub quiz, taking part in the weekly raffle or watching the footie. Naturally, plans are afoot for some of Goodwood’s finest items to make their way on to the shelves, but Kerridge has ulterior motives for visiting Chichester. “I massively love cars,” he says. “We went to Revival for my sister-in-law’s 40th birthday and I loved it. I dressed up, of course I did! At first you think, ‘What am I dressing up for?’ But if you don’t, you feel more out of place.” A Porsche 911 owner, next year he’s heading to the Singapore Grand Prix with his car-mad one-year-old son, Acey. “The little man is totally obsessed,” he gushes, “he’s not even two and he watches Formula 1 over cartoons, which is great. I can’t wait for Festival of Speed.” A first-rate chef whose second great love is motor racing? It’s hard to think of anyone more fitting to cook for Goodwood’s guests.
Tom Kerridge at Goodwood: a first-rate chef whose second love is motor racing
MARCH 17-18 2018
76th Members’ Meeting: historic season opener
Members' Meeting combines actionpacked races with fun festivities and fabulous entertainment
As we prepare to plant 100,000 daffodils around the Goodwood Motor Circuit in readiness for the 76th Members’ Meeting (March 17-18 2018), we look forward to another weekend of thrilling action on the track. The programme will feature 12 adrenaline-fuelled races including a mixture of new fixtures and returning favourites. Members’ Meeting is for those who are part of the GRRC, an epic weekend of motor racing created by the Duke of Richmond. It aims to recreate the atmosphere and camaraderie of the original BARC Members’ Meetings held at Goodwood throughout the 1950s and ’60s. As well as a full programme of racing, Members’ Meeting features all kinds of cars – from classic tin-tops and GTs to motorcycles and open-wheeled Formula 3 and F1 machines – and enjoys a friendly and intimate atmosphere with no crowds. Highlights this year will include thundering Group 5 special production racers, and Formula 5000 single seaters. The original Goodwood Members’ Meeting placed as much emphasis on socialising as on motor racing, and the concept of ensuring everyone has a jolly good time has been taken to a whole new level. Once the chequered flag falls on the final race of Saturday, the sound of engines is replaced by a rousing drumbeat welcoming guests to our now legendary Saturday evening festivities, with a spectacular array of entertainment for visitors of all ages. A winning formula of spectacular cars, high-speed track demonstrations, funpacked festivities and great entertainment, along with the very best food and drink. The next Goodwood Members’ Meeting takes place on March 17-18 2018. For information, visit Goodwood.com/ membersmeeting or call us on 01243 755055.
GOODWOOD WHAT THE RESTAURANT CRITICS SAID... ‘Farmer, Butcher, Chef delivers on its promise. Beautiful meat, butchered and cooked with the reverence it so rightly deserves’ THE MAIL ON SUNDAY
‘Hassell, Hearn and Bunn have achieved an extraordinary collaboration, demonstrating that you don’t have to go up to London to find superlative cooking: perhaps because, unlike so many metropolitan restaurants that are units awaiting to be franchised, this place is full of love.’ THE SUNDAY TIMES
Farmer, Butcher, Chef celebrates its first anniversary
From top: the restaurant's decor is a contemporary take on country chic; Goodwood butcher John Hearn
Farmer, Butcher, Chef is our exciting restaurant located just yards from Goodwood Home Farm – the final stage of a unique process dedicated not only to showcasing our meat and its flavour, quality and provenance, but also achieving the very best yield from our livestock. Since our opening, we have served 26,450 covers and processed four cows, 12 pigs and 25 lambs each week, which is exactly the same number we processed before we opened, as nothing is wasted. This is largely due to a unique approach that means that our butcher is directly involved in designing dishes according to the cuts that are available. The Butcher’s Boards are an imaginative way to enjoy our beef, pork and lamb – they highlight different cuts served in a variety of ways – or choose from dishes such as Sage and Honey Rubbed Pork Belly with apple, radishes and little gem lettuce or the delicious Ale-glazed Short Rib with sherry vinegar, salt beef scotch egg, onions and chicory. The menu champions seasonal English fare, showcasing our own produce along with selected ingredients from local suppliers. Goodwood has been farmed by the family for over 300 years and is one of the only selfsustaining organic farms in Europe. These organic principles enable our farmer to produce the best-tasting beef, pork and lamb, all of which are reared right here. Come and enjoy the most delicious home-grown produce within a relaxed and cosy setting. Visit Goodwood.com/estate/farmer-butcherchef or call 01243 755070 to book a table.
Flying Experiences For those who love the romance of aviation, a flying experience makes an exceptional gift. Flying training began here in 1940, when RAF pilots learned to fly during World War II. Treat a loved one to the flight of a lifetime in one of Britain’s most iconic planes, the 1943 historic Harvard, which was renowned as the training aircraft for Spitfire pilots. During the Warbird Experience you will take off from the grass runway and fly the same skies in which the Battle of Britain was fought, while enjoying stunning views of the beautiful coastline and Sussex countryside. For a great introduction to flying, the Goodwood Aviation Experience offers you the chance to take the controls. During your full briefing with a friendly, highly trained Flying Instructor, you will decide on your route before taking to the air in a state-of-the-art Cessna. The flight is followed by a delicious lunch, which can be taken in either the Old Control Tower Café at the Aerodrome or at the Bar & Grill – part of the Goodwood Hotel. Complete your day with full use of the Goodwood Health Club. Our flying experiences start from just £59. To book, visit Goodwood.com.
Driving Experiences This Christmas, why not treat someone special to an unforgettable driving experience that will create lasting memories. For those with a passion for motorsport, Goodwood Motor Circuit is the only classic race track in the world to remain entirely in its original form, representing the most glamorous, thrilling period in motorsport history. If you are thinking of a gift for the thrillseeker in your life, the Performance Track Experience offers the chance to drive the full range of high-performance BMW M Series models on Goodwood’s circuit. It is a rare opportunity to experience the revolutionary BMW i8, an extraordinary 357bhp hybrid sports car, which
incorporates new technology to create a distinctive and exciting ride. Drivers can follow in the tracks of racing heroes such as Jim Clark, Stirling Moss and Jackie Stewart. The historic two-and-a-half-mile circuit provides a real challenge and joy for anyone who loves the feeling of high speed. Or, how about a chance to master handbrake turns and powerslides with the adrenaline-fuelled Spin & Slide experience? During this exhilarating session on our low-grip surface, drivers will feel as though they are in the movies as they learn to develop new skills. Our driving experiences start from just £49. To book, visit Goodwood.com.
From top: take the controls of a state-ofthe-art Cessna; drive the revolutionary BMW i8 at Goodwood Motor Circuit
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Goodwood House has not one but two libraries – called the Large Library and the Small Library – which between them contain more than 3,000 books. The bulk of the collection was acquired by the 2nd and 3rd Dukes – and like everything else within the Goodwood Collection, offer an intriguing glimpse into the differing passions and pursuits of the various Dukes – and of their travels. The 2nd Duke was known as the Architectural Duke, having fallen in love with classical architecture while on the Grand Tour, while the 3rd Duke was very much a man of science, who read the works of JeanJacques Rousseau, and who met many of France’s leading intellectual lights on a visit to Paris in 1752.
LAP OF HONOUR
Lapo Elkann is an entrepreneur and tastemaker. The grandson of Gianni Agnelli, he started out as brand director of the Fiat Group, where he oversaw the relaunch of the 500, before founding the Italia Independent Group in 2007. His Garage Italia custom car business has just reopened in Milan’s iconic Eni building
Lapo Elkann MY TOP THREE RULES FOR LIFE ARE: honesty, integrity, faith – and courage, with a dash of fantasy. CARS WERE MY FIRST LOVE, OF COURSE. They used to give me a set of car keys to stop me from crying in my crib. THE ART I LIKE TO SEE I’m lucky enough to have in my room at home in Milan. It's a mix of my own collections and gifts from the people who count the most in my life. I DON’T SLEEP VERY WELL – OR VERY LONG. So I daydream a lot, then try to convert those dreams into reality.
I THINK COURAGE IS LIFE’S MOST OVERRATED VIRTUE – unfortunately. That said, the people I most admire are the ones who risk their own life daily to save those millions of kids fleeing wars and famine around the Mediterranean. MY ADVICE TO MYSELF AT 18? Be more patient and don’t try to jump stages of life. "UOMO SENZA SQUADRA, UOMO MORTO", as we say in Italian. (A man without a team is a dead man.) I’m not a solo player and no achievements are reached alone. I’M A BIG MOTIVATOR and I have more women than men in my teams and among my closest friends. MY GREATEST ACHIEVEMENT is giving real life to my dreams by founding my companies and creating jobs through them. THE BEST DRIVE OF MY LIFE? Those would be the ones that still await me! The roads not taken, to quote Robert Frost. BOREDOM IS MY GREATEST FEAR. I am a happy workaholic and not afraid of working around the clock. IF I COULD POSSESS ONLY ONE SUIT it would be a Solaro suit – Solaro cloth changes colour, depending on the light.
IN ANOTHER LIFE, I would not want to be someone else – but to have two lives. WHAT MOTIVATES ME is always wanting to do better than the previous project. Improvement is a key factor. MY AMBITION? To live another 40 years at least!
ILLUSTRATION BY ELIZABETH MOCH
THERE IS NO LIMIT to my hunger for new cars.