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An invigorating discovery of what’s truly important, as clear as the water around you

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L U X U RY

LIF ESTYLE

IN

C ORNWALL

rift dr ft

noun 1. the act of driving something along . he o or he eloc y o he c rren o a r er or ocean rea

verb . o beco e dr en or carr ed alon a by a c rren o . o

o e or oa

a er

nd or a r

oo hly and e or le ly

3

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CROSSING

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On the cover The Salt Sisterhood (page 112) Image by Lizzie Churchill

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ISSN 2632-9891 © All rights reserved. Material may not be re-produced without the permission of Engine House Media Ltd. While rift will take every care to help readers with reports on properties and features, neither Engine House Media Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Engine House Media Ltd strongly advises viewing any property prior to p rcha n or con dera on o er any nanc al dec on . n ne House Media reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. Engine House Media Ltd cannot take responsibility for loss or damage of supplied materials. The opinions expressed or advice given in the publication are the views of the individual authors and do not necessarily represent the views or policies of

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Engine House Media Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of this magazine.

Engine House Media Ltd is a multi-platform media business with a passion for everything Cornish. Visit www.enginehousemedia. co. o nd o ore. r on o crea e EXPERIENCE media opportunities marrying together consumers h he ab lo b ne e acro orn all. r p bl h n and marketing teams are specialists in creating print and online communications, devised to achieve a range of marketing objectives. With over 20 years of marketing, brand management and a a ne e per ence e de elop e ec e co n ca on that deliver your message in a credible and creative way. We operate across all media channels, including: print, online and video.

19/07/2019 15:33

T E A M

Foreword Cornwall is unique. There aren’t enough superlatives in the dictionary to describe what it feels like to live here, nor to express how lucky we are to do so. That is why the incredible team here have published rift. We couldn’t have done it without the help of some like-minded individuals (you know who you are!) and for that we thank you all. We want to share Cornwall’s rarity with you; to bring you the ultimate in luxury that this county ha o o er. he de n on o he ord dr ft was a hugely important part of the conception of the magazine (page 2). We hope that over the coming pages you will allow our content to take you on an editorial odyssey through

a combination of sophisticated, relevant and e cl e ea re enabl n yo o l erally dr ft a ay. loa e or le ly ro e a o Leach Pottery (page 17) to the work of painter Gareth Edwards RWA (page 28). Be caught in the tide as you sample Cornwall’s culinary excellence (page 48) or let the current carry yo h le yo p n per a o red p r a he sun sets in the west (page 64). Let rift be your personal advisor for experiencing the pinnacle of Cornwall’s luxury lifestyle as you join us on our maiden voyage. Immerse yourself in each and e ery care lly crafted pa e e per enc n orn all ne and beco n a par o rift’s exclusive society of readers. Enjoy the journey.

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Join our team We have an exceptional and loyal team here at Leven Media Group but as a fast growth business we’re always interested in talking to outstanding individuals. If you’re a superstar of extraordinary talent then we would love to hear from you.

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112

74

57

40 128

Chris Tuff

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C O N T E N T S

At a glance 17 28 34 40

A L OV E F O R T H E C R A F T The influence of The each ottery

BEAUTY AND MENACE In conversation with Gareth Edwards

i e acey

A C U L I N A RY G I F T

57

THE FISH KING

64

W H AT ’ S I N A G I N ?

72

M O O D B OA R D

74 98 104

I M M E R S E YO U R S E L F

128

aul Ainsworth’s story so far

134

Three courses from Nathan Outlaw

142

Tar uin gives us a hint

150

Interior ideas for summer

152

P R O P E RT Y At the top end of the Cornish mar et

154

W H E R E T H E H E A RT I S here is home for Sarah Fortescue?

160

A CORNISH ICON The

112

124

L I F E T H RO U G H A L E N S

48

SYMBOLS OF ELEGANCE

118

A RT A N D I N L U E N C E At the forefront of art in St Ives

A visual ourney with

110

inac Theatre

ewellery from Fope

oin the Salt Sisterhood

THE CALL OF THE SHORE Coastal couture from Finisterre

A SENSE OF PLACE Catherine Alliot tal s inspiration

BEHIND THE BLUE FLAGS Global recognition for our beaches

HELPING HANDS rotecting the European lobster

M A D E T O S TA N D O U T There’s no mista ing a Coc wells boat

THE TEST OF TIME ristwatches from

ichael Spiers

I TA L I A N F L A I R Heed the

aserati evante

L I F E C YC L E A story of true Cornish success

REMOTE RESCUES The life of an air ambulance paramedic

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18/07/2019 11:38

Matthew Tyas

A love for

THE CRAFT A philosophy that transcends mere functionality.

WO R D S B Y F I O N A M C G OWA N

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P

apane e ay o r n no n a ra he ob ec are red n l hey are red ho hen removed and placed in combustible materials to create chemical changes in the clay which impact its colour under the glaze. Having learned the techniques of brushwork and throwing, Bernard lived in Japan and spent time in China and Korea before returning o he reple e h no led e o an cera c r n and de n .

ick up a mug of tea and stop for a moment. It’s one of the most basic, functional items. It’s a vessel that has been unchanged for hundreds of thousands of years. Handle. Lip. Cylindrical container. Once, they were made from baked mud, sculpted and shaped by hand. Today, the chances are, they are mass-produced in some distant factory, churned out on conveyor belts and decorated by robots. But when you pick up a mug that is handmade, you will feel o e h n d eren . h be he b le of things. An unconscious sense of minute deviation from the norm. Somewhere in that here ll be a n erpr n bo h real and e aphor cal and o e here n yo r mind, your sense of touch will pick it up.

In spite of that introduction, there is nothing pre en o abo each o ery hand ade crockery whose very name, ‘Standard Ware’ is understated, and whose functional forms are not so very far from those of their ancient earthen ancestors. The St Ives pottery studio has been around for nearly 100 years, and for apprec a or o cera c craft and hand ade pottery, it is both a touchstone and a bench ar no o en on n a e p ece holding their value to an impressive extent.

To understand why this small studio had such an n ence aro nd he orld yo need o dip into its history.

Back in the ‘20s, when St Ives was in its heyday as an artists’ colony, a young potter and his wife arrived. That man was Bernard Leach, and he has become known as the ‘father of studio pottery’. He had been brought up in Hong Kong and Japan, had studied etching at Slade School of Art in London. Returning to Japan to practice as an artist and teach etching, Bernard had become intrigued by ceramics. He learned about the traditional

Images: Matthew Tyas

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temperatures than European kilns. The a e co e n o he bo o cha ber heat is pulled over the ware and down into the next chamber, which keeps the heat in he ln lon er. o ln had he re ndernea h a b ch ney and he hea oe out of the top.”

h n ence ha re a n a fundamental part of The Leach Pottery today. To the untrained eye, the forms of the crockery might look simple and in many ways traditionally English, but, explains Lead Potter Roelof Uys, they retain elements of Far a ern n ence . ha each a ry n o do he ay er e a ern and e ern aesthetics. He had these traditional pots that were very English in their shape and form, b ed a ern e hod h ch a ay more advanced than our Western techniques for making ceramics.”

Wood, though, was not the easiest fuel to source in relatively barren west Cornwall, so it wasn’t long before Leach turned to oil and electricity in the late ‘30s. Today, the working pottery uses electricity for a aller ln and he b er ln are red by gas. The contrast between the old pottery and the current working environment is not as marked as you might think. In the end he a e ac y o n on and very much an unchanging, manual process.

True, the potters no longer have to mix the clays themselves, but they still have to ‘pug’ the clay, which involves squeezing out clay sausages. The old dough mixers and mangle-like pug machines lie unused, but apparen ly o ld ll nc on rea ed up a bit”. The potter’s wheels are electric, not pedal powered. But the action is the same, as is the philosophy.

In the early days, those techniques involved ch r al and error lo e pera re raku made an appearance, as did the high e pera re r n echn e h ch re a n at the heart of The Leach Pottery today. Leach and various visiting luminaries from Japan b l ood red ln n he apane e yle. he nal era on o he ln are ll on show in the Leach museum. A series of three stone kilns built on a slope, they are sheltered under the roof of what was once an old dairy. n apan hey ha e he e do ndraft ln on p h ll de ay oelo or chambers. They could achieve much higher

Images: Matthew Tyas

20

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Images: Matthew Tyas

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C R E AT E

studios like Krowji in Redruth and Cast in el on he ar cene ply h ft n o cheaper locales.

You wouldn’t think that there is a philosophy behind something as basic as crockery. But the concept behind Leach is not just aesthetic blend n he yle o e and a b about the nature of studio pottery itself.

Studio pottery, says Roelof, was as much about a lifestyle as about the production el . a a ay or craft people o or collaboratively towards the common goal of living an independent life by selling their are . h ed ell h he bohe an vibe in St Ives at the time, where artists were o r h n han o he ea e o nd n studio space and the supportive artistic community. Even as recently as the 90s, says Roelof, there was still a feeling that artists could support themselves while living and working in the town. While St Ives has now become prohibitively expensive, he sees the collaborative world of art continuing in Cornwall. With shared art spaces and mixed

Roelof Uys, who has been Lead Potter at Leach Studio for six years, is touchingly humble about his achievement, heading up one of the world’s most renowned ceramics studios. Yet he has every credential to lead he d o he e bod ed he ph lo ophy of the studio for all of his working life, and is deeply motivated by a desire to pass on his extensive knowledge to others. It was perhaps this drive, along with a carefully considered business plan, that led the Leach o eh he n en al role. nce o n n he has worked with the management to change a great deal about the practice of he do n any ay re rn n o its original, highly functional, working production system.

23

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C R E AT E

e had a ery r d oc e y n o h r ca the divisions and categories. But I met these guys who decided to be potters and not be so-called productive members of society. It was a very bohemian lifestyle.”

Roelof ’s background in ceramics is rooted in his home of South Africa. Like Bernard Leach, he was initially drawn to printmaking, e ch n and pa n n . a n left chool and begun work as an apprentice in a print factory, he decided that he was more inspired by l a n and enrolled n ar chool. was there that he discovered what became his lifelong passion: working with clay. Also like Leach’s eye-opening experience with raku in apan oelo a n ally dra n by he r n proce a n ha a en h a r he re e ber n l edd o ep rn .

We put a pile of pots in a hole and made a big re on he op o . really l e a n re so I got into it that way,” he grins. He was lucky enough to have some inspiring teachers, he says, who taught him about Leach Pottery, Eastern and Western techniques, as well as the almost undocumented 40,000-year history o r can ar h n a lo o o h r can ar ha e a d al y he e he cla c Western training, but also the African history.”

Roelof ’s journey took him to London, where he worked with a fellow potter making garden pots from a greenhouse in north London, but oon ended p n e dra n by h ory and he r n he add . oon he had h own studio and his wife was selling his work in her gallery in St Ives. And in 2013, the vacancy for Lead Potter at Leach came up. Since he started work there, Roelof worked with the Leach Pottery team to alter its model. Leach already had a gallery, museum and shop, a ell a co r e el ha e re o n to make money out of people coming here, we’re going to have to start paying people,” e pla n oelo . e chan ed ha odel from a volunteer programme to three-year paid apprenticeships.” He wanted to create a b ne ha a el ann a proper or n po ery. ha he o ec re ay of doing things.”

Matthew Tyas

As a practical man, Roelof was attracted to the lifestyle of potters seeking to be nanc ally ndependen be n able o a e he r craft and l e a hey l ed. didn’t know much about ceramics history and I didn’t really have roots in what I was doing, or what I wanted to do - I was e per en n on y o n. r encountered that Leach tradition with these potters working in Cape Town. I loved the way the way they were working and the community they had. They all worked in their studios by themselves, but they had this camaraderie. You’d expect that people who do the same job would compete against each other, but it wasn’t like that, it was like they were all on this kind of journey. Not just making work, but making a life, making a good life.” He pauses and thinks back to ho e day n he la e he e y weren’t waiting for retirement. They were living their lives. I found that very attractive.

A B OV E Lead Potter, Roelof Uys

24

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C R E AT E

or six people around you with various levels of skill, also contributes to their training. It’s almost that they train each other in here.”

Leach Pottery Standard Ware is now sold outside of the onsite shop – they are now approached by numerous clients and retailers wanting to sell it elsewhere. Leach’s elevated position in the annals of functional ceramics clearly makes it very desirable. The workshop is currently training one apprentice potter and employs two previously trained apprentices.

Roelof says that applicants don’t always have to have a background in ceramics: “It’s almost preferable to train people that don’t have any previous experience.” He likes people to learn on the job, where it is very practically focussed – the other advantage, he says, is ha hey learn ro each o her. a n e

There is no doubt that a handmade piece of tableware is a pretty special thing, and there’s a lot more behind a piece of Leach pottery than meets the eye. As Roelof says, they are sneaky artworks – they go into your life as something utilitarian, and then you start living with it. “The more you touch it, the more you absorb it, the decoration, the glaze and the form starts playing a role in your life.”

Seasalt

leachpottery.com

A B OV E Leach Pottery Apprentice, Annabelle Smith

27

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BEAUTY

menace and

Paul Massey

WO R D S B Y M E RC E D E S S M I T H

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Painter Gareth Edwards RWA is the original Alpha creative, but his work exudes an intriguing sensuality.

“

and scale, but also in subtlety, is something o a re ela on. ar ed h o e oral works I made just for pleasure,” says Gareth, of a small series which is currently on show at the Saatchi Gallery in London. “They were ener c really none o he pec c o er but they were an excuse to bring some colour back into my painting. I had been thinking lately about Monet’s Nymphia (known also as his famous Water Lilies), those spectacular decorative friezes at the Musée de l’Orangerie in Paris, and I was considering ways of making ab rac ed land cape h o er . read d e o ho e or and e e o on a train of research. I was able to start leaving behind a certain ‘rugged landscape’ imagery – things like mountain passes, estuaries and the cooler climes I’ve been working on for several years that have gone down well at exhibitions in Canada and North America – those vast countries of the ‘Grand’ landscape. That combination of studying Monet’s work and a n y o n l le o er pa n n ha put me in a much more sensuous place, and it has opened up a dialogue between imagery and landscape painting that hasn’t yet been explored, I think, in a Postmodern way.”

To give yourself permission to engage with paintings like these, as a man, whether artist or collector, is a powerful thing,” says Gareth Edwards when I interview him at his studio in St Ives. The studio itself, with its high ceilings and windows that capture Cornwall’s famous north light, is drenched in paint spatter and the heavy scent of oil colour, and around us hang a series of sensuous, large-scale canvases.

As an artist of some 30 years, an elected Royal West of England Academician and a lecturer in Fine Art and Visual Culture, Gareth is respected as a painter of extraordinary landscapes. His highly contemporary, semiabstracted works are exhibited regularly in London, New York and Toronto with Jill George Gallery, and in Cornwall they have led he eld n con e porary pa n n h shows at Millennium, Newlyn Art Gallery and Lemon Street. Gareth and I have met numerous times before to discuss and review his work, and in recent years his paintings have exhibited a notably dark edge: blacks, greys and taupes – with the occasional hint o old ha e de ned h or and h subject matter has been distinctly moody, all dark ravines, towering forests and bleak terrains. This new work then, which has lately expanded not just in terms of colour

he re l n or h ch han oor o ceiling in his studio space, shimmer with depth and colour, and are, well, beautiful.

TOP Gareth Edwards at his Porthmeor Studio B E L O W (left to right) Koyoto Water Garden | Lotus | Pure

29

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A B OV E River Deep

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there in my work, absolutely!” This duality in his paintings, the pale, culturally feminised o o he o er pa red h a po en ally sinister darkness, is a metaphor in itself for the recent progression of Gareth’s work, and perhaps for the artist himself. “I suppose he e ne or he con de co nc ded with me starting therapy, and with giving up alcohol. The brooding, rugged landscape is still in me, but I wanted to increase what I gave myself permission to paint. I wanted to explore a more intimate and poetic palette, so these new, much larger paintings of rivers, ponds, and lakes have allowed me to bring in deep greens, beautiful purples, damson colours and pinks. In addition, the spaces within my paintings have become more atmospheric, in a more intimate way I think, and that was certainly precipitated by having a healthier mind and body.” As Gareth describes them, I note that the scale, and the colour of these works seem essential to their power.

“Their huge scale is about immersion” he explains, “and about ‘Colour Field’ really.

Viewers can lose themselves, literally, within these paintings. In theory their size presents a risk, in terms of what happens to them, because not everyone has the space to hang such large works. I’m constantly being told by gallerists that nobody wants huge paintings, but in my experience the opposite is true.

These works demand a commitment – a real passion for painting – that will put them in the hands of the right collector.”

ha a ord he dee o de cr be ch imposing paintings? “Yes, it is, he says of a word that is generally anathema to the art world. “For a long time now I’ve been campaigning to myself about the genius of ‘beauty without meaning’, and the key that that can turn in people. I’ve seen it again and again – it’s absolutely what I’m interested in as an ar . obody can de ne ha bea l is, but that’s what artists are doing, they are rearranging ideas of ‘beauty’ all the time.”

Something in his work, though, seems to counterbalance their innate beauty; I describe it to him, as I take in more and more of his new paintings, as an underlying sense of ‘menace’.

That description seems to please him. “I would say that there is a kind of Baudelairian menace behind them,” he says, “like in a movie scene, where you get the feeling that just below the glittering surface someone could have just been drowned. That whole idea of Ophelia and of madness is there alongside all that sumptuous beauty. I am very aware of Lacanian philosophy, of ideas o re ec on o rror n and h n n een beneath the surface.” A wicked and deeply entertaining thought comes to him. “It makes me think of Lord Byron! Of him slipping quietly out of a grand country house in the early morning for a swim in the lake owned by some aristocratic woman he has just seduced after ed c n her da h er a dar l c of immorality circling behind him as he slips below the surface amongst the water lilies. It’s INSET Subtropical Morning Towards The Beach

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• The Customs House Gallery • Porthleven A light and airy space on Porthleven’s historic harbour side showcasing the very best of Cornish art

Commercial Road • Porthleven • TR13 9JD e: hello@thecustomshousegallery.co.uk t: 01326 569365 | w: www.cornwall-art.co.uk

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C R E AT E

Amongst the vast expanse of colour then, ha place doe he o er o hold and ha any ean n y de a l po on ha al ay been o e proce and co po on and he o her or al proper e o pa n n o crea e e o onal a o phere . o e er hen yo ha e a ra e b ec n a or l e a r er or a er or a o er here al ay re h ed ean n a er l l e carry a hole ran e o ean n ro dea o he lo ea er and e a a hall c no en c o er o he y ph a he c en c na e or a er ll e ro he la cal y h ha a r b e he b r h o he o er o a ny ph ho a dy n o lo e or erc le h ch ere een n anc en ree a he y bol o o er n o anhood. lo er enerally

carry h he dea o l e and dea h and o bea y and decay o ha e al ay been ery n ere ed n oral a ery. a d alec c ha e h n e. can be co pelled by a colo r and a al ay n ere ed n ab rac on b can e a o o e oc and ean n o y or . en ally e are all a h an be n bo h ale and e ale and a de n ely acce n a ore e n ne de n y or a he o en . n he end all e are left h n l e h an co ple y and he e en al o rney. ha ha all y or abo .

Gareth Edwards’ new work will be on show this autumn in Seattle and Toronto with Jill George Gallery, and in Melbourne and Singapore with Eumundi Gallery.

INSET he o an c

garethedwardsartist.co.uk

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ART

influence and

WO R D S B Y M E RC E D E S S M I T H

An inspiration for art collectors for more than 50 years, what does it take to head one of the UK’s most influential art galleries?

T

len a aa e ell he hel o one o ar aller e .

he e raft an allery ha been n p r n ar collec or or ore han hal a cen ry play n ho o e ery por an na e n r h craft de n and pa n n . head o a or ep e ber e al e h b on e al o allery rec or len a aa e

ha he

o

l e o be a n en al

Ylenia, tell us a little about the history of the New Craftsman he allery a o nded n by ane each celebra ed h cen ry po er and e o ernard each hen hn a e year ane en n o par ner h p h ary oo ed ra e. oo bro h h her chael n ho a a en on a allery ana er and en on o or here or year ra h yo can bel e e ha . e an ab ol e a hor y on e ar . nce a er o h year he ha been e re red a ed b he ll here hene er he an o be help n han ho and en er a n n e a o r r ae e . r n he early year he allery oc ed pr ar ly on cera c and n er or de n ob ec and a ncred bly nno a e a all an h rn re and hand o en e le n a pace do ed h c e e po and arbara ep or h c lp re . ane and oo ere ho n harle a e cha r here and lon be ore ab a a o nded a per onran a a n rn re or he e raft an. n he he allery ar ed o deal n pa n n ho n ar l e e er anyon and lhel na

hen he e raft an allery celebra ed h year n ed a l ed ed on po er h e ac ly na e on each an ar ho n here nce open n n . ha l a ho ho o r h ar and craft ro na e pa n er l red all ho e n ored yle r ered decade o b e en ar o e en o l nar e o e ar ch a reon a ey arbara ep or h ryan n er arc eron o er l on erry ro and andra lo o n erna onally celebra ed po er ernard each ho a ada an oper and an el ooper o orld cla con e porary cera c per p ra o ra a he ha ber and er ood r e nner da c . he n ence o h na n ye h or cally por an allery on e ore ree ea rable ppor n a ha done he ed l n career o o e o he orld o por an ar . head o he or hco n r o a her n e h b on rec or MOON JAR da c

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C R E AT E

ea r n or by ar ha ha e e he la year . ho and a really and he allery ea

arn raha ho are no reco n ed a o e o h co n ry o por an h cen ry ar . n he allery ca e p or ale and y h band a l and ere able o b y . or e eral year e left he pace e ac ly a had al ay been hen n e oo he r o o erha l n he pace open n p acro o oor and crea n a pac o allery ha co ld acco oda e a hole ar e y o con e porary craft and pa n n . nce ha e e ha e or ed hard o a n a n he allery e ho and rep a on and e are ery pro d o ha .

odern and con e porary h b ed a he allery o er a a h ely pop lar pro d o en or y el .

Tell us how you select artists, and what factors are key to including their work hen co e o con e porary ar o h y n nc and cer a nly y lo e o cera c ha dr en a lo o y dec on a n . e re larly e h b or by nno a e cera c l e o ra ho e p ece e h b he o bea l ne ral h e and ab lo ly r ch e re and anya o e ho ha been ro ndbrea n n her e o colo r and or . he or e ho here by a he ha ber ab ol ely e raord nary a anyone ho ha een h or ll no and or he la o year e ha e ho n he or o n ho e ec ely br n n p r n o cera c . h all ype o craft an o ee a h h le el o ll n he e ec on o he or and an n ere n e o a er al . ple al ay ood doe n ha e o be co pl ca ed o be rea or . harder o de ne ood pa n n beca e h n ha ore b ec e. n e ence a al ay loo n or pa n er ho e or ll o e he allery re or ard. orn all ha o e r ly o and n land cape pa n er e l a e or e a ple ho here e ery er and one o o r o collec ed con e porary ar b he allery connec on o e odern ean e al o ha e a real pa on or ab rac on. or any year e ha e been pro d o ho he or o a he anyon h ch o ch por ance o orn all and o h allery h ory. e raft an ho ed he or o h a her e er anyon and a he oo ha le acy and ade o ehn r ly n can o he h ory o h area.

How did it feel, taking on a gallery of such historic importance to St Ives? ell e had al ay been collec or o e ar and had rea re pec or he e raft an. a n o ner h p o h pace a a h e rn n po n n y l e. ne ha a d rec or o ch an por an ar en e e had a rea re pon b l y o he people o e and ne o ld a e p e ery o nce o y ener y and co en b had a rea r end n chael n ho ayed n place a allery ana er and or ed h e o a n a n and e pand he allery place n con e porary ar and craft. e oo o r e o er he r hree year hen be an o de elop o r o n dea re ard n he allery re. ne e needed o br n n ne ar and reach ne a d ence b a ab ol ely cr c al o pr or e he allery n e h ory and pec al a o phere. h all ha n nd e no ho he ery be or by h cen ry e ar alon de he o n prn con e porary pa n er and craft people. a n a n n he her a e o h place and ppor n ne alen al ay o r oc . n e ere pro d o celebra e he allery h year. ha a an a p c o o en and on pre end e d d e ly e ade a b no e h a land ar e h b on 1.BLACKTHORN POURING VESSEL ar a rn

4 . P R I E S T C OV E , C R E E P I N G T I D E el a e

2 . M A N D A T E O F H E AV E N a he anyon

5. SAKE BOTTLES o ra

3. LAND MARKS a r c a hone a e hannon oft

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1

2

3

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What can we expect from your St Ives September Festival Show? r ep e ber e al e h b on al ay he o h h pro le o he year and beca e o ha e l e o ched le o e h n really pec al. h year e are pre en n a l d c pl nary e h b on called he r o a her n . ll ho ca e he or o e en con e porary ar ho e he ac o a her n or har e n a er al a an n e ral par o he r ar prac ce. he e h b on ncl de c lp ral ba e by nne ar e ll an and oe o an ho a hor l ed or he oe e o nda on raft r e n . e ll ha e cera c by a r c a hone ho rece ed an a ard ro he a era c r ondon h year and or by ore and o nd a do collec e ho ha e been elec ed or he er ood a er pen r ary pr e. e ll ha e appl ed e le by b a l oo h pa n n by chael or er e ellery and a hered ob ec by l er h ar a rn and a bea l collec on o rned ood e el by a a nbr d e. or any o he e ar h ll be he r e hey ha e e h b ed n orn all h ch ean ha e are br n n a lo o n ence bo h r ral and rban o e her n one pace h ch ery e c n . here ll al o be a pec ally co oned n alla on by nne ar e ll an a he h n cellar on or h eor beach h ch ll be open o he p bl c d r n he e al. o d e pec e o ay o co r e ha a ee e h b on b really a ee

6

7

8

The Art of Gathering is curated by Sarah Frangleton, and is on show from 14th September to 12th October at New Craftsman Gallery, 24 Fore St, St Ives TR26 1HE newcraftsmanstives.com

6. BLUE SPIRAL a he ha ber 7. 18CT GOLD A ND CA RNELIA N NECKLACE y oyle a e ob erry 8. CYLINDRICAL FORMS n

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F O C U S

LIFE

through

a lens

Celebrating the work of ocean photographer, Mike Lacey.

T

he shots Mike achieves are like no other. Having surfed all over Cornwall for many years, Mike switched his focus from riding the waves to capturing their unique beauty. Mike’s willingness to be out in all kinds of weather and surf, in search of the next magical shot, has created a diverse and unique portfolio of ocean photography.

His passion for Cornwall and nature has driven him to explore the coast and keep pushing the boundaries of photography to the limits. Spending as much time as he does in the water, Mike is acutely aware of the problem of plastic pollution along our shores so, in a bid to raise awareness, he has just completed the 32-mile crossing from Porthcurno to the Isles of Scilly with a group of like-minded individuals, raising money for Surfers Against Sewage. An ocean odyssey made all the more special by completing it on a paddleboard he crafted by hand.

A B OV E Mike Lacey RIGHT Leven Curl

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TOP Porthole LEFT Fire & Ice

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BELOW Underwater World

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A B OV E Scilly Paddle (Images: Ed West)

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RIGHT Light Speed

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Be kind,

WORK HARD WO R D S B Y F I O N A M C G OWA N

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C U I SI N E

The exacting standards of a London kitchen: Paul Ainsworth’s culinary gift to Cornwall.

S

Cornwall), Paul Ainsworth has the energy of a coiled spring beneath a friendly and la d bac e er or. lad n ac la e che h e yo e he pre on ha he can wait to get back into the kitchen, to the front line, where he is most at home.

tarting out as a chef in the 90s meant you had to be tough, determined and resilient. Back then, any kitchen worth its salt was a place where shouting and swearing was de rigueur, where any member o a ho d dn co ple e he r a o he utmost of their ability and the expectations of the head chef was bawled out – of the kitchen, of a job, and even out of the industry. High end restaurants were the militaristic domain of high-achieving, high-rolling chefs, and woe be de a lo ly e ployee ho d dn con or or showed any weakness for the relentless intensity and unsociable hours.

Paul says that his time in London was intense, but absolutely crucial in making him the chef and boss that he now is. “If I look at someone and I respect them, I will give that person absolutely everything. No matter what Gordon [Ramsay] or Marcus [Wareing] o ld ch c a e. a ery hardcore ay o learning. Military, almost. It structures you; it e d c pl ne. he e day ho h he h n ha people ha e beco e a l le b ofter.

a n o h cr c ble ha any o oday most successful and well-known chefs were thrown – learning from the likes of Gordon Ramsay, Marcus Wareing, Marco Pierre White and Gary Rhodes. Paul Ainsworth is just such a chef. Now a celebrity chef in his own right, he was working for Gordon Ramsay before he was a household name. “No-one ne ho ordon a hen re e ber a l “but if you worked in the catering hospitality industry, you knew who Gordon was, and you knew that he was probably the hardest, most d c l per on o or or.

Sitting in the downstairs bar area of The Mariners pub in Rock, with neatly spread lines of yachts bobbing on the water – millpond smooth on a leaden day in June (yes, this is

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and all harbo r and bac ed by a smattering of low-key properties. A little boat service ferries people back and forth to neighbouring Padstow. There is a big café and a co ple o beachy hop . nd hen here he big pub building called The Mariners.

And as a boss, he has also had to adapt his style of management.

He is still strict, he says – ensuring that the exacting standards of a London kitchen are applied to each of his eateries in Cornwall.

But instead of yelling at someone for slacking n ron o he hole ea he ll a e he a de and ha e a ord after er ce n hed.

At The Mariners, you can tell that he has he a on a h lea h. ell be ore l nch er ce ha ar ed here a b o e c en ac y. he a are ar ly dre ed and polite – eyes constantly roving to monitor the c o er need . he r eenne o pre Paul is palpable.

The Mariners has been an institution since the 90s – and favourite drinking spot of the young royals. Paul and Emma Ainsworth have put their own stamp on the place. The interior is all understated dark wood and slightly steam-punky bar vibe. Downstairs is an open space with massive wide-screen wood-burner (yes, alight even in June) and comfortable russet-themed bucket seats.

The Mariners is the latest venture in the Ainsworth collection. The pub, owned by harp re ery a pre o ly r n by ano her o orn all yo n cce or e a han la . fter e year la decided to move on, and Paul jumped at the chance to branch out from his Padstow base.

Although it is just across a small stretch of water from the foodie destination, Rock is a ery d eren e le o h. all and fairly unprepossessing, but renowned as a hideaway for second-homers and discerning vacationers. The winding seafront is dominated by a watersports centre, slipway RIGHT Warm hand-raised pork pie, piccalilli

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Although this is not an olde worlde pub, explains Paul, he wants people to feel the comforting vibe of walking into your local.

Downstairs, food orders can be made at the bar and yo can nd a ea yo can ea without needing a reservation. Upstairs feels more like a gastropub – tables in the high season will certainly need to be booked, and a n a er ce. o can en e more than hear the busy activity in the kitchen as the chefs prep for lunchtime. he en a ro e o en o er n p b classics with the panache and ingredients you would expect from a Michelin-starred che . del c o loo n lo h an nch ha n yo r andard l p o cheddar chunk of bread and limp iceberg lettuce.

Pies that look like works of art, but taste the b ne . h and ch p and hepherd p e all he old a o r e ha a ran o ld eat, explains Paul with a twinkle.

ood h y l e he ay pa ona ely knew that the only way to do that was just to work hard – as hard as I can – somewhere ood. e pa e or a econd and add nd learn. nd ne er e er e er e p.

When he decided to leave for north Cornwall, his previous boss, Marcus Wareing was less than enthusiastic. He gave dire warnings that it would be the death knell for his career – he had recognised that Paul was a rising star, and co ldn a ne ha he co ld ha e an pac n ha arc e ed a a h n ch p and b c e n pade o n. a l ollo ed an instinct. Rick Stein had already got a hold on ad o b h h ea er e had no yet reached their pinnacle, and when Paul and three colleagues had a chance to open a new restaurant in the town, they jumped at it. Within three years, the others had moved on and a l a left o r n he re a ran a he pleased.

e opened hree ee a o ay a l almost nonchalantly, although there must have been a frenetic amount going on in the background. The Ainsworth empire has lo ly been e pand n nce a l r arr ed in Padstow on a wing and a prayer. Unusually for people choosing to work in Cornwall, Paul d dn p c ad o a a l e yle cho ce. e has always been driven towards success – b no or he a e o any nanc al or a rewards. “I always wanted to do something

Being in coastal Cornwall, as anyone in the catering industry will tell you, is all about he ea on . nd ha doe n ean he ea onal n o o r . ean ha the food you serve is genuinely seasonal. n ondon ay a l hone ly d dn really understand what seasons were. ha o nd ad a a che . d dn .

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organisation that helps people who have fallen on rough times to get employment in catering and hospitality. He and Springboard created an apprenticeship course at Truro and Penwith College – where students who show particular pro e are o ered a place a he n or h Academy and get a chance to work in one of his businesses. While their college tuition is being paid for, the students can choose to work in any area, from accountancy to front of house to chef-ing. There are already a number of success stories, not least 17-year-old Olivia, who is now working front of house at No.6.

orn all a h e abo ea on . ro locally grown asparagus (“we only serve it for o e h ee o he year o choo n ha ea ood o er e local her an Johnny Murt is trying to get everyone to ea p der crab a he o en he en changes with the seasons. Local produce is not just a marketing ploy; it guarantees quality.

Having a relationship with the suppliers is key to sourcing the best ingredients, and of co r e por co bo h nanc al and environmental – are reduced.

Initially, though, Paul Ainsworth had to deal h he do n de o ea onal c a on .

When he started out in Padstow, No.6, h ne d n n re a ran a dependen on visitors in the school holidays.

He struggled to deal with the downtime. While others were able to take the time to relax and make improvements to their businesses, Paul, ed o he ad h rl o ondon che n a a h end. o ho ld a a abo he ay r e lly d ar or a 7am and be back by 7pm, and just be pacing aro nd he ron roo . h ener y ha clearly drives Paul to set up more businesses. fter e year o r nn n o. a a cce l Michelin-starred restaurant, he and Emma set up Italian eatery Rojanos. Creating a dra a cally d eren o er n nl e he Steins, who simply developed variations on a ery cce l he e a a h e bene . a l ay ha a b b y a ordable b ro serving pizza and pasta with his trademark quality ingredients and expert chefs was a nanc al boon.

al o by he by ha a l en on ano her recen r n o h b ne ah he c l nary or hop la h che able a No.6. There will be no resting on laurels for the Ainsworths – especially given that the seasonal nature of tourism is changing. With more and more holiday makers heading for the coast of Cornwall year-round, and with ad o beco n one o he op ood e destinations, it seems that Paul picked just he r h place o e p hop. a l b ne ac en and h de er na on o o er he ery best in hospitality to every single customer is underpinned by his mantra. “It may sound corny or cl ch d b e al ay a d be nd or hard and e on. paul ainsworth.co.u

Paul Ainsworth now employs 130 people in Padstow and Rock. It is an achievement that he has worked hard to gain. He has learned so much along the way, he felt motivated to e o e h n bac o h nd ry. e r started donating money to national charity Springboard several years ago. But over time, he an ed o o er o e h n ore o h

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C U I SI N E

The king OF FISH

WO R D S B Y NAT H A N O U T L AW

David Loftus

Nathan Outlaw celebrates a culinary year in his home village of Port Isaac.

Extracted from Restaurant Nathan Outlaw by Nathan Outlaw (Bloomsbury Absolute, £40)

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C U I SI N E

Starter: Crab & Asparagus For the mayonnaise

SERVES 6

2 large egg yolks

INGREDIENTS:

1 tablespoon brown crab meat (from the crab above)

1 large live brown crab, about 1kg, placed in the freezer for 30 minutes before cooking

Juice of 1 lemon 300ml light olive oil

Salt

Cornish sea salt and freshly ground pepper

For the asparagus mousse

For the asparagus salad

3 sheets of bronze leaf gelatine, soaked in ice-cold water

12 perfect asparagus spears, trimmed of any woody parts

25g unsalted butter 325g asparagus spears, trimmed of any woody parts

1 tablespoon chopped chervil

150ml double cream

40ml agrodolce vinegar 100ml good-quality olive oil

First make the asparagus mousse

Cut the body in half, using a sharp knife, to re eal he l le channel o h e crab ea . e a crab p c or he handle o a poon to pick out all the crab meat from these cre ce and p n o a epara e bo l.

Soak the gelatine in a shallow dish of ice cold a er o often. ean h le place a lar e pan o er a ed hea and add he b er.

When melted and starting to bubble, add the asparagus and cook for about 3 minutes n l often and ar o collap e. o r n the cream, bring to a simmer and cook for 3 n e . ea on h al o a e. ee e o the excess water from the gelatine then add it o he a para re. ed a ely p he contents of the pan into a blender and blend or n e n l oo h. ran er o a .

n a hea y n e brea he cla h one hard tap if possible and pick out the white meat, prising out the cartilage from the middle of the cla . o he a e h he le o e rac he ea . nce yo ha e e rac ed all he h e ea with clean hands, pick through it to search for any hell or car la e. e r era e prepar n ahead or e a de h le yo a e he ayonna e.

To make the mayonnaise

Carefully pour the mixture into 6 individual er n d he and place n he r d e o e .

lace he e yol bro n crab ea and le on ce n a bo l and h o co b ne. lo ly add the olive oil in a thin, steady stream, whisking con an ly n l all ncorpora ed. ea on h al and pepper o a e. dd eno h o he ayonna e o he h e crab ea o co b ne.

To cook and prepare the crab Bring a large pan of water (big enough to hold he crab lly b er ed o he bo l. ea on he water generously with salt, to make it as salty as ea a er. nce co e o a roll n bo l lo er he crab n o he a er and coo or n e .

For the asparagus salad

are lly l ft he crab o o he pan place on a ray and lea e n l cool eno h o handle.

Remove all the legs and claws from the cooked crab by n he a ay ro he body.

Now, holding the crab in both hands, use your thumbs to push the body up and out of the hard op hell or carapace. e o e and d card he dead an n er o ach ac and hard e brane ro he body hell. n a poon remove the brown crab from the carapace and place in a bowl (you won’t need it all for h d h o a e o ea on oa or ree e .

Carefully slice the asparagus spears len h ay on a andol ne. dd he chopped chervil and dress well with the agrodolce vinegar and olive oil, but don’t overdo it he dre n ll often he a para .

To assemble and serve a e he a para o e and crab meat if chilled) out of the fridge 20 minutes be ore er n . op each o e h a p le o crab ea . rran e he ha ed a para alad on op and er e ra h a ay.

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C U I SI N E

Main: Dover Sole with Clams, Parsley & Garlic 200ml white wine

SERVES 4

50ml double cream

INGREDIENTS:

200g cold unsalted butter, diced

4 Dover sole, 300–400g each, skinned, trimmed and heads removed olive oil for cooking. Cornish sea salt and freshly ground black pepper

2 tablespoons curly parsley, picked and chopped able poon

For the clams and sauce 400g live Palourde clams, well washed

For the roasted garlic aïoli

Olive oil for cooking

1 garlic bulb

banana hallo peeled and nely chopped ennel b lb o er layer re o ed

a lea par ley p c ed and chopped

A few drops of lemon juice (optional)

400ml olive oil, plus a drizzle

nely d ced

2 large egg yolks

lar e carro peeled and nely d ced

Finely grated zest and juice of 1 lemon

arl c clo e peeled and nely chopped

Take the Dover sole out of the fridge to bring them to room temperature before cooking.

2 bay leaves

To prepare the roasted garlic aïoli

Tip the collected wine and clam juices back into the pan and simmer to reduce by half then add the cream. Now lower the heat and gradually whisk in the cold diced butter.

The butter will emulsify into the juices to make the sauce base. When it is all incorporated, set the sauce aside; keep warm.

Preheat your oven to 220°C/Fan 200°C/Gas Mark 7. Wrap the garlic bulb in a piece of foil with some salt and a drizzle of olive oil.

Place in an oven dish and bake for 1 hour n l oft. n rap he arl c and lea e n l cool enough to handle, then separate the clo e and ee e o he oft arl c p lp.

If you prefer, you can remove the clams from their shells. Either way, discard any that ha en opened. e a de h le yo coo he h.

Put the egg yolks, lemon zest and juice and the roasted garlic pulp into a blender or food proce or. l br e y o co b ne hen h the motor running on a low speed, add the olive oil through the funnel in a thin, steady stream until it is all incorporated and the aïoli is thick. Season with salt and pepper to taste and blend for 30 seconds. Transfer to a container, cover and refrigerate until ready to serve.

To cook the Dover sole Oil a large, shallow roasting tray (big enough to hold all h and pr n le h al . ea on he h ell h al and lay on he ray h he de the dark skin has been removed from uppermost). l he h enero ly and ba e or n e until cooked. Remove from the oven and set aside o re h le yo n h he a ce eep ar .

To prepare the clams and sauce lace a lar e pan ha ha a h n ld o er a ed h h hea . hen ho add a good drizzle of olive oil, then the shallot, fennel and carrot. Sweat for 2 minutes without colouring. Add the garlic and bay leaves and cook for another minute. Now add the clams and wine and put the lid on the pan. Cook for 2–3 minutes until the clam shells open. Tip the clams, along with the vegetables, into a colander set over a bowl to catch the juices.

Wipe out the pan and put it back on the heat.

To assemble and serve Warm the sauce gently, then add the clams, 3 tablespoons of the reserved vegetables and all of the chopped parsley. Taste the sauce for seasoning and acidity, adding a little salt and/or a few drops o le on ce yo h n need . are lly l ft he h ro he roa n ray on o ar ed pla e .

Share the sauce, vegetables and clams equally a on he pla e and n h h a ood spoonful of aïoli on the side. Serve immediately.

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C U I SI N E

Dessert: Rhubarb

Orange Trifle For the rhubarb and orange jelly

SERVES 6

5 sheets of bronze leaf gelatine

INGREDIENTS:

400ml freshly squeezed orange juice

For the rhubarb jam

100ml water

500g rhubarb, cut into 2–3cm slices

300g caster sugar

50g unsalted butter

400g rhubarb, cut into 6cm pieces

150g caster sugar

For the custard

50g ginger beer

400ml whole milk

For the sponge

200ml double cream

3 large eggs, plus 3 large egg whites

8 large egg yolks 80g caster sugar

15g caster sugar

heaped able poon corn o r

100g icing sugar

For the whipped cream

100g ground almonds

400ml double cream

pla n o r

1 vanilla pod, split lengthways and seeds scraped out

30g butter, melted

cn

ar

fted

To nish a ed al ond

To make the rhubarb jam

oa ed

Tip the mixture into the Swiss roll tin and gently level with a palette knife. Bake for 6 minutes, or until the sponge is pale golden brown and springy to the touch. Lay a sheet of baking parchment on a re rac and rn he pon e o on o . eel o the lining paper from the sponge and leave to cool.

Put the rhubarb into a pan with the butter, sugar and ginger beer. Cover and cook over a medium heat for about 10 minutes until he rh barb co ple ely oft hen re o e the lid. Cook until the liquor is reduced and syrupy. Allow to cool slightly, then blitz in a food processor until smooth. Transfer the rhubarb jam to a container and leave to cool.

To form the Swiss roll Once cooled, spread the sponge with the rhubarb a . h a lon de ac n yo roll p he sponge to enclose the jam and make a Swiss roll. Slice into rounds, about 4cm thick. Place a pon e ro nd n each r e er n la .

To make the sponge Preheat your oven to 220°C/Fan 200°C/Gas Mark 7. Lightly grease a 30 x 20cm Swiss roll tin and line with baking parchment.

To make the rhubarb and orange jelly

Using an electric hand whisk, whisk the 3 egg h e n a ery clean bo l o pea . h in the caster sugar, a teaspoonful at a time, until it is all incorporated and the meringue is glossy. o er he bo l h cl n l and p o one de.

Soak the leaf gelatine in a shallow dish of icecold a er o often. he oran e ce water and sugar in a pan (big enough to take the rhubarb) and heat gently to dissolve the sugar. Add the rhubarb, bring slowly to a simmer and cook gently for 4 minutes until ender b ll hold n hape. ft he rhubarb out of the pan with a slotted spoon and set aside on a plate; cover and leave to cool.

Using a stand mixer, whisk the icing sugar, ground almonds and whole eggs together for 4 minutes, until doubled in volume. Remove the bowl from the stand. Using a large metal poon care lly old n he o r. o en ly and gradually fold in the meringue, a quarter at a time. Pour in the melted butter and fold through the mixture until incorporated.

Pour the juice from the pan into a measuring jug. You need 500ml to make the jelly, so pour this amount back into the pan. Bring to just below simmering and remove from the heat.

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David Loftus

Immediately squeeze out the excess water from the gelatine, then add it to the hot juice and whisk until fully dissolved. Leave to cool. Once cooled, pour the fruit juice over the sponge in the glasses and place in the fridge to set for at least an hour.

forming. Leave the custard to cool completely. hen he c ard cold a e he r e la e ro the fridge and pour the custard on top of the jelly. e rn he r e o he r d e o e he c ard.

For the whipped cream

To make the custard

hen he c ard e po r he crea noa medium-large bowl and add the vanilla seeds and c n ar. h n l oft pea or .

Pour the milk and cream into a heavy-based pan and slowly bring to the boil. In the meantime, whisk the egg yolks and sugar together in a lar e bo l and hen h n he corn o r.

To nish and ser e he ri es a e he r e ro he r d e and poon or p pe the cream on top of the custard. Drain the rhubarb pieces, pat dry and arrange on top of the cream. ca er o er he oa ed a ed al ond o er e.

As the creamy milk comes to the boil, pour it onto the egg mixture, whisking as you do so.

Pour the custard back into the cleaned pan and cook, stirring continuously, over a medium heat until it thickens; do not allow to boil.

bloomsbury.com

Pass the custard through a sieve into a bowl and co er he r ace h cl n l o pre en a n

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DRIFT--01--Tarquin's Gin--6pp (2spreads & 2 singles) v3.indd 74

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QU E N C H

What’s in a WORDS BY F I O N A M C G OWA N

GIN?

You can hardly fail to notice that we’re in the middle of a gin revolution. But it is by no means the rst time the UK has been gripped by a cra e for this clear, uniper flavoured spirit.

G

And at the sharp end of that development is Tarquin Leadbetter. At the age of 23, Tarquin had already done a cordon bleu cookery course, completed a degree in Politics and Economics, worked in the city, tried to set up a Thai fast food chain, and then plumped on he dea o a n a craft n. ha e some whirlwind. And yet all of those threads fed into the brand that he founded in 2013.

The degree and the experience of working in the city equipped him to understand and ple en he nda en al o b ne . love of food and cordon bleu background led him to work at a pub-cum-Thai restaurant in o n ll h le he planned h a ood chain. Working there behind the bar piqued his curiosity about beers and spirits.

in has been around since the Middle e r recorded n olland a ‘genever’, it was apparently given to William of Orange’s soldiers to fortify them before battle – the original ‘Dutch courage’.

Gin has come a long way since then. Today’s fad for this low-calorie, personalised and refreshing long drink doesn’t even come close to the ‘Gin Craze’ in the late 1600s and early 1700s. With high tax on imported spirits, and farmers using up barley that wasn’t high enough grade to make beer, there were as many as 7,000 gin shops in London, and around 15,000 residential stills in the city alone. he obar an dep c on o dr n en people littering the streets of London was nothing short of a dire anti-drug poster campaign.

Eventually, the government stepped in, introduced strict licensing laws on the selling of gin, and the drink became less of a social problem. It retained its bad-booze reputation, though – we’ve all heard of ‘mother’s ruin’.

Women wanting to hide their unladylike dr n n hab often cho e n or lac o smell and easy-to-disguise clear liquid.

Once he’d crunched the numbers and set out the business plan, the Thai venture d dn loo nanc ally able. ar n was already coming up with another idea.

At the time, the multinational gin brands ee ea er ordon o bay apph re and Tanqueray – dominated the market, along with dozens of contract brands, b o no able all ba ch craft n had edged their way into the more discerning bars. read abo ha p h and ha e ere doing,’ says Tarquin, “I thought it was amazing.

Who knew you could make spirits on a small scale?”

Today, gins are everywhere. Cornwall is a hotbed of gin brands – there are currently 20 brands and counting, and just as many in Devon and elsewhere in the West Country.

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QU E N C H

distillery. They are seven-plus-foot high, pot bellied vessels, with pointy onion-shaped lids and thick copper pipes twisting out of them. “Originally, they came from North Africa,” explains Tarquin, raising his voice to be heard over the sound of heavy machinery.

We are leaning on the balustrade of a viewing pla or ha o erloo he b y ac ory oor.

“The Portuguese farmers use them for their excess produce,” he continues. “Whatever they pick, and they don’t use, they’ll ferment it and e or local brandy. e elabora e ha he a o r o he n doe n co e ro the ingredients that are added, but by the very process of distillation. The slope of the arm be a h he d pen er ha an e ec on the way the alcohol vapour condenses, and h a ec he ren h o he a o r. h the enthusiasm of an alchemist, he points out the big, shiny new copper still in the far corner.

It’s been specially made for Tarquin’s in Italy – a h h ech er on o he or nal ll . fter a lot of trial and error, the new still has been programmed to perfectly mimic the results that were achieved in the older stills.

a l n ro e on ar n h on he dea o a n a re onal craft n. here are lo o re onal craft beer and c der he ne but no-one was applying that model to distilling gin.

Tarquin is an exceptionally driven young man. Once he had made the decision to make his own gin, he spent months developing his pala e. ll n bo le after bo le o n h each of the classic botanicals on his kitchen stove, he taught himself to recognise the subtle, nd d al a o r o n per carda o citrus peel, almond, violet and numerous other herb and p ce . fter n er n and a n and tinkering some more, he came up with his ideal recipe. A recipe that is still only known

by Tarquin himself. And then he focussed on his location.

With his older sister, he set up the o h e ern llery n ally a rented industrial unit in the middle of some eld o e here o de o adebr d e n Cornwall. “Coming here was a no-brainer,” he admits. “There and then, I thought, what I want to do is move back to the West Country and make booze. I spent all my holidays in north Cornwall, and my grandparents had a house near here.” It seemed pretty simple to a 23-year-old, with the insouciance of youth: co ld l e by he ea o r n no pay any rent and have low overheads… If I go bust, I o b . e loo aro nd he all pace ha has now been turned into a dedicated visitor centre for Tarquin’s Gin, “I rented this space for £300 a month. Did it all on a shoestring.”

A £50,000 inheritance, though, enabled to start up the business without needing a loan or being beholden to investors.

There are tables surrounded by people sorting out the bottles. They are part of a 38-strong ea or n or o h e ern llery. n one side are huge plastic crates containing the magic blend of ingredients, waiting for Tarquin o per e he pec c ea re en o each a o r n .

In the quiet of the visitor centre, he runs through the complex combination of bo an cal . or are n ed o ft he r hands through the herbs and spices contained n lar e ar o cr h he n per berr e (actually the kernels of the juniper’s cone) to release their piney, resinous scent. There’s angelica root, cardamom, coriander seeds, liqourice and the root of an iris (orus root).

Each one has its own impact on the other. “It’s a b l e per e ar n ay a o rn by distillation.”

e bo h he r o he a n ood red Portuguese copper stills. Three of them remain in the distillery: one in the visitor centre, and two in the larger space that now houses the production hub of the current

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QU E N C H

Visitors taking part in the tasting tour are n ed o hand d p he r o n bo le o a e away with them. There is now a veritable allery o ar e e o ar n n he cla c ho e n he n erna onal a ard nn n na y ren h n ye here are pec al a o r collabora on h re co ell ay c e n den ro ec and harp re ery and a o red gins (blackberry and honey, rhubarb and raspberry or strawberry and l e ha ha e been produced so as maintain a alcohol con en artfully avoiding slippage into the alcopoppy world of highsugar gin liqueurs.

Part of the reason that gin is so popular is that it is easy to personalise, and it’s not surrounded by any sort of snobbery either.

Not only can you choose from a massive array o b ly d eren n b here are no a o red n ro rh barb o raspberry and from hops to parma violets. Not o en on he elec on o er pre tonics with additional a o r ch a elder o er an o o ra bitters or rose. Tarquin ha r ly e braced the new wave of gin production, but keeping ahead of the game is vital: especially as the marketplace is becoming increasingly crowded.

The business has grown organically since Tarquin old he r load o bottles out of the back of his car to the Gurnard’s Head gastropub in west Cornwall. It’s still not in any supermarkets, but it probably won’t be long before it graces the shelves of a ro e or . he a ha been ro n alon h he brand ne e ployee bringing their knowledge from the likes of Bacardi and Bombay Sapphire to help expand he ale and b ne de elop en . h his eye on building a family business to last well into the future, Tarquin has been smart enough to brand his business as a distillery, rather than a gin company. This means that, if gin does slip out of favour, he is positioned to branch out into other spirits. The next step, though, is for Tarquin to carve out more time for himself. He doesn’t get out to surf as much a he ed o he ay and e o re hape his business structure to help him to return to his original dream: live by the sea, make booze and o r n .

The base of gin is clear, pure ethanol. A 96.3% alcohol, it’s a neutral grain spirit made from barley, wheat or rye. “The idea of a London Dry style of gin is that you use alcohol as yo r blan can a . o hen add bo an cal h ch any r herb plan or p ce n o r unique recipe, you’re infusing it into that base o crea e a n ho e a o r predo nan ly a o red h n per berr e .

Having created a gin that people loved was he be nn n . h any all ba ch craft d ller or bre er he b e challen e con ency. nl e h a ade products that can be churned out in precisely the same conditions in giant factories, small producers such as Southwestern Distillery have to deal with the tiniest of discrepancies. ar n e er he adap e b ne an decided to write unique batch character tasting notes for each batch. It’s a clever marketing ool y n a l h d erence by a n a . he bo le are all hand d pped n wax for their distinctive melted candle look.

tarquinsgin.com

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I N SPI R AT I O N

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I N SPI R AT I O N 3 . C OA S TA L C O O L

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P RO P E RT Y

ART DECO style residence

This fabulous coastal home – built with the utmost style by award winning architect Barry Briscoe – suits its location down to the ground, capitalising on a truly enviable position.

P

rivy to exceptional views across Mount’s Bay and the iconic St Michael’s Mount, Spinnakers’ reverse style layout works exceptionally well, with he bedroo on he ro nd oor a n ay or l n area on he r .

Outside, the well-manicured and delightfully landscaped gardens, which include a pond, add a cer a n oral char o p nna er e er or. e ned o re re l le maintenance, with wooden boardwalks navigating their way through the borders and around to the rear of the property, there’s something distinctly coastal about the gardens, and with Cornwall’s climate opening up a world of horticultural po b l e ho e ble ed h reen n er co ld ell nd he el e n r r n he r o n l ce o b rop cal parad e here.

Onto the property itself and the lower ro nd oor h an n e ral ara e on the side, is laid out as a self-contained, onebedroo apar en . h le yo ll be e p ed to keep it unoccupied for those inevitable summer holiday visits, this annexe is well suited to serve as a holiday let, opening up possibilities for those seeking an additional rea o nco e.

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W W P RO P E RT Y

p o he ro nd oor proper and yo ll nd that Spinnakers’ main residence has three bedrooms, including a generous master with o n en e ba hroo . p he a r a a n and you enter the social hub of the home; as well as an open-plan kitchen/dining room, which follows the property’s distinct L-shape, there’s a superb reception room and even an o ce h ch co ld ea ly be ed a a o r h bedroo . fter d nner here be er o le all o down than on the spacious roof terrace? h a brea h a n o loo here aren many properties that take advantage of the o n ay a e l e p nna er .

As well as ample room – and privacy – for sunbathing, even on a rainy day, you can take a seat in the comfortable ‘pod’ – an intriguing, glass-walled dome that’s perfect or hel er n ro he ele en . he pod represents a whole sphere of possibilities: gather your friends with a deck of cards and a bottle of wine; curl up with a book for some proper ‘me’ time, or sit and watch the sun set o e her on a ch lly a n e en n .

SPINNAKERS Guide Price: £1M ROHRS & ROWE 01872 306360 info@rohrsandrowe.co.uk

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P RO P E RT Y

EXCEPTIONAL barn conversion

Drink in the staggering views of the Carrick Roads as you approach this superb barn conversion, complete with three superb holiday cottages.

O

er n o ch o o any h an e cep onally pac o and e ble layo o ndho e arn ha o el con a ned hol day co a e on he ro nd oor he ar ho e and he a ry pl a epara e co a e oc le o a e ad acen o he a n ho e. b ec o he nece ary per on he a n re dence co ld be adap ed o ncorpora e he o hol day n b or anybody hop n o a n an add onal rea o nco e he c rren con ra on r n a a cce l bed and brea a b ne h he a n re dence re er ed or he o ner . a r o ay ha h ha o be one o he ne proper e a a lable on he o eland.

ROUNDHOUSE BARN Guide Price: ÂŁ1.4M ROHRS & ROWE 01872 306360 info@rohrsandrowe.co.uk

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P RO P E RT Y

GEORGIAN gem

A beautiful and detached Georgian family home, located less than a mile from the coast.

G

rade II listed and believed to date back to circa 1800, the property is thought to have been extended and converted to three cottages in the mid 19th century, before being reinstated as one complete home. Now, the accommodation comprises e bedroo ncl d n a enero a er bedroom with a beautifully realised en-suite shower room. This is a gorgeous example of a classic Georgian farmhouse, replete with features that speak of the home’s original character, including sash windows with ndo ea pl ran e and la e oor n .

A sweeping lane and gated private driveway lead into 1.2 acres of gardens and grounds.

Filled with mature trees and shrubs, and including an all-weather tennis court, sun terrace, barbeque area and a summer house, spending time outside at Penrose Farmhouse is a genuine pleasure.

PENROSE FARMHOUSE Guide Price: £1.35M JONATHAN CUNLIFFE 01326 617447 office@jonathancunliffe.co.uk

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P RO P E RT Y

SUBLIME restoration A magni cent conversion of a former corn mill, located between ithian and the north coast beaches of erranporth and St Agnes.

B

lowinghouse Mill has been meticulously restored and extended with the utmost sympathy for its original character. Clad in cedar and larch, with exposed stonework and glazed elevations beneath a slate roof, plus more than a few of the latest household technologies, this fabulous recreation brings a p ece o orn all her a e r ly n o he 21st century.

The original mill is thought to date back to circa 1790. Operating until the 1960s, it was later acquired in 1989 by a nursery gardener who planted the grounds. He retained ownership for more than 25 years, before selling it in 2015 to the current owners. Testament to the vendors’ meticulous attention to detail, as part of the mill’s restoration, the bespoke water wheel to the side of the main house has been lovingly recreated – digitally patterned from the original pieces, which were found in the oor benea h.

The water wheel really sets the tone for the rest of the property, the small but perfectly honed details combining to create something truly special. The kitchen, for instance, features hand-built cabinetry and a range of Miele ‘one-touch’ appliances. It also has a large island unit complete with Zebrano hardwood top; warm, hardwearing and in keeping with the home’s traditional aesthetic – it really does look good.

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P RO P E RT Y

o r o he e bedroo are o nd on he ro nd oor h le he a er e h ch also has its own dressing room and roof errace o he r oor aller ed landing. Again, the detail here is second to none, with a spectacular mezzanine bathroom complete with freestanding bathtub, twin sinks and a walk-in shower. o ll al o nd he n roo p ar with an open vaulted ceiling, large wood burner, south-facing balcony and a large d al a pec ndo ll n he roo h light and overlooking the gardens and pond.

Detached from the main house and occupying a cedar-clad building, which also houses a quadruple garage and workshop, is idyllic two-bedroom guest accommodation, including a kitchen-dining room with doors opening out onto a decking, plus a sitting roo and e en an o ce area. he dec n sits above the stream and looks across into the meadow – a spot of tranquil and calm elco n yo r e o re ec and n nd.

Blowinghouse Mill is replete with modern de a l ncl d n nder oor hea n ra n all showers and a multi-room sound system.

In short, life here is one of luxury, and hen yo co b ne e ery h n ha o o er inside with the mature, lush and wooded environment of the gardens, this unique piece of revitalised Cornish heritage quickly becomes a real showstopper.

BLOWINGHOUSE MILL Guide Price: £1.5M JONATHAN CUNLIFFE 01326 617447 office@jonathancunliffe.co.uk

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P RO P E RT Y

THE BEST of both worlds

An immaculately restored Victorian rectory located ten minutes from Padstow and the beach lifestyle of the Seven Bays.

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rade II listed, The Old Rectory occupies three stunning acres of private grounds. Sensitively restored and n hed h e c lo a en on o de a l he ho e re a n a eal h o or nal ea re ha pea o he ho e d nc c or an charac er ncl d n a one la e oor and ele an or n replace . he acco oda on n he a n ho e co pr e e en bedroo n o al pread acro he r and econd oor and each bene n ro or eo en e ba hroo . he enero a er e really pre e o er n a pac o oa o cal n h ch o re rea after a day en er a n n . he en e ba hroo ea r n a ree and n b on a led pl n h and ele an o a c de a l n add a real o ac or o he e. here pace aplen y here or a ro n a ly o pread o . n he e en n hen e o co e o e her and al abo he day happen n he d n n roo a onder lly ar pace or d nner h or eo oa oor and do ble door lead n n o he n roo . fter d nner h a ood b rner n hear h he n roo beco e a co y re rea e pec ally n he colder on h hen he n er all be n o blo n ro he ocean.

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P RO P E RT Y

ea re o par c lar no e on he ro nd oor a de ro he y e h ch ncl de a ea roo and chan n roo he bea lly con er ed coach ho e. o ned o he a n re dence by a odern la ed l n h con e porary pace ea re a n c c roo a ho e c ne a and e an ne d o en e bedroo . lend el o acco oda n e b o ld er e e ally ell a pace or ddle eena er ho need he pace o ro . r n he er yo ll lo e pend n e o de. a le el la n hel ered arden errace and a co r yard h a lo ely la ender al no o en on a or eo oa ra ed erho e h ch ha plann n per on or an o door pool. When you add all of this to everything el e ha h h or c ho e ha o o er yo c ly real e ha h really a once n a l e e oppor n y one ha e nl e any o her a h end o he orn h ar e .

THE OLD RECTORY Guide Price: ÂŁ2.85M JOHN BRAY & PARTNERS Pavilion Building, Rock, Cornwall, PL27 6JU 01208 862601 sales@johnbrayllp.co.uk

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P RO P E RT Y

COUNTRYSIDE retreat

A rare opportunity to purchase a rural retreat within striking distance of the coastal village and sailing hub of Rock.

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pproached via a sweeping private drive, Keiro Veor delivers exceptional farmhouse living, re ec n bo h rad onal al e and a odern a en on o b ld n de n. ell a a alled arden h ra ed bed and ample gardening storage, there’s also a able bloc co ple e h ac and eed roo or e ne en h a . he acre ro nd are ro nded o h bea l an c red arden h e abl hed ree and hr b pl a pond h ooden pon oon and hree paddoc . he e on o er are perb e end n o ard he er Camel, and inside, a meticulous attention o de a l ha left he proper y en oy n a bl e blend o co or and cla .

KEIRO VEOR Guide Price: ÂŁ2.35M JOHN BRAY & PARTNERS Pavilion Building, Rock, Cornwall, PL27 6JU 01208 862601 sales@johnbrayllp.co.uk

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P RO P E RT Y

SPACIOUS manor and estate

A Grade II listed manor house with 18 acres of private parkland, landscaped gardens and woodland.

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ith a rich Cornish history available on request, this impressive estate o er e h bedroo n o al ncl d n a o bedroo co a e a ached o he a n ho e. care l blend o con e porary o che and or nal ea re mean life here is optimally comfortable: he chen or n ance boa or eo a one oor n h le odern appl ance and con e porary n a e ca er n or the masses a breeze. de en er a n n e ade ple han o a lar e n pool and or eo dec ed pool errace h plen y o roo o pread o and a e he most of the sun. dd o all o h a pr a e la e enn co r epara e arden ncl d n a chen arden and o n oodland pl a r ple ara e and e en a able and he l e yle a orded by r han anor beco e one ha any can only drea o .

TRUTHAN MANOR O.I.E.O ÂŁ3M SAVILLS CORNWALL 73 Lemon Street, Truro TR1 2PN 01872 243200 truro@savills.com

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P RO P E RT Y

RESTORED private farmhouse

This beautifully presented farmhouse sits centrally within its own grounds, o ering complete privacy ust two miles from Fowey.

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ompletely restored and extended by the current owners, Little Pinnock comprises the original farmhouse h a a n cen odern e en on and each o he o r bedroo en oy ne e o er he arden e acre o land and he surrounding woodland.

Outside, the property is approached by a lon pr a e dr e. he ho e el en oy a sunny southerly aspect and is surrounded by a re ell plan ed arden . here al o a large parking area adjacent to the main re dence and o he nor h yo ll nd a ca erno odern ch barn h abl n and hard standing to the front. e p e he pr acy and ran ll y on o er here, Little Pinnock is just two miles from Fowey, allowing you to truly enjoy the best o bo h orld a e l e n he co n ry n er per ed h nny afternoon pen on he ran l a er o he r er.

LITTLE PINNOCK FARM Guide price: ÂŁ1.25M SAVILLS CORNWALL 73 Lemon Street, Truro TR1 2PN 01872 243200 truro@savills.com

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P RO P E RT Y

HISTORIC Cornish estate

A gorgeous manor house and small estate boasting panoramic views of the countryside and Lynher Valley.

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n ale or he r e n nearly a cen ry h all co n ry e a e approached a nearly hal a le o a ed pr a e dr e ay eander n hro h he ro nd pa he oc ed la e and he land hereon and on o he ra elled dr e ay ha approach he er a clad ron a e. he a n ho e o er e en bedroo o co or able acco oda on ncl d n hree en e pl a ab lo r ple a pec chen ha been recen ly pda ed. here are per od ea re hro ho h ch pea o he ho e or nal charac er n ac he ea n ha been raced a ar bac a he h cen ry ha really pre e abo ad on anor are he ro nd h ch e end o ore han acre . n oy n an ac la e nder a ed rande r enco pa ed h n a a ly ho e rarely do e enco n er ch n po l plendo r.

CADSON MANOR Guide price: ÂŁ1.5M SAVILLS CORNWALL 73 Lemon Street, Truro TR1 2PN 01872 243200 truro@savills.com

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WHERE

heart is the

Tim Charles

WO R D S B Y DA N WA R D E N

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D I A LO G U E

Replete with tales of intrigue, spiced with royal encounters and de ned by the mar s of luminaries, oconnoc’s history spans nearly a millennia.

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hands a number of times, Sir William Mohun bought the property nearly 500 years later and set to rebuilding the house. Formally, this had been a medieval tower known as the ‘Tower of Boconnoc’ and it dates from the 13th century.

Sir William passed it to his son, Sir Reginald (of his father’s name), who was made a Baronet in 1612. It would remain in the family until Charles, 4th Baron Mohun, was killed in 1712 in a duel with the Duke of Hamilton. Charles’ estate passed to his second wife, who sold it in 1717 for £54,000 to Thomas Pitt – late Governor of Madras. Pitt is known for making his fortune by selling the ‘Pitt Diamond’, which he acquired from a precious stones merchant some 16 years before in India.

hroughout this iconic estate, monuments stand testament to the centuries that the house and grounds have weathered: a 15th century church with King Charles’ coat of arms and a letter thanking Cornwall for its support during the Civil War; a Georgian bath house – one of only four in the country – with a myrtle bush at the entrance, planted from Queen Victoria’s wedding bouquet.

In recent years the Fortescue family, now in its sixth generation, have undertaken and completed the tremendous challenge of restoring the main house. It’s the story of a father’s vision; of his daughters who picked up the mantle, seeking to immortalise his legacy.

We’re lucky enough to speak to Sarah Fortescue, founder of her own interior business and accessories brand, who tells us about Boconnoc today. Reminiscing about her childhood years, she talks about her family home and touches on the dear place it holds in her heart.

Pitt’s diamond, which he sold to the French Crown, would later be set in the crowns of not one, but two French monarchs, as well as in the hat of Marie Antoinette – the last queen of France – before he rench e ol on. a er after he bloodle co p d a h ch l a ely saw Napoleon Bonaparte installed as First Consul of France, the stone, which currently holds a value of around £56M, was set into the very pommel of that historic emperor’s

A brief history Boconnoc Estate and Manor were taxed in he o e day oll o . fter chan n

INSET From left Elizabeth Fortescue, Clare Fortescue and Sarah Fortescue.

(Image: Sheerlove Photography)

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D I A LO G U E

sword. In 1804 – nearly a century since the Governor of Madras acquired the estate – the heir, hereditarily named Thomas Pitt, died in a duel with his friend, Captain Best. The estate then passed to his sister, Anne, who married William Wyndham, Lord Grenville, the Prime Minister. 30 years later in 1864, upon the Lady Grenville’s death, Boconnoc was bequeathed to George Matthew Fortescue, son of the late Lord Grenville’s sister, Hester, who married he r arl or e c e o a le ll e on.

The rest, for want of a better phrase, is history.

The century and a half since have seen a number of works take place on the house and grounds, some reparatory, others additional, but all maintaining the estate’s traditional and historically prestigious aesthetic.

“My father ambitiously took on the restoration in the late ‘90s, opening the estate to the public in order to fund the project.”

Sarah remembers when the old tower was re ored n o a a h a chen on he ro nd oor ca er n o e ber o he public. She recalls setting up shop with friends, “selling soup and a sandwich,” with the proceeds going back into the next detail of the restoration. “It was by no means an ea y ea . he roo a he r h n o be completely redone, and as my father moved through its old walls, he built a team of alen ed craft en ded by h o br n Boconnoc House back to its former glory.”

More recently, the house was used by the American Army for strategic planning during the Second World War, also housing an American bomb-disposal unit. Then, from the late ‘90s until 2011, a major restoration and refurbishment project took place, bringing the house and gardens back to life.

Today Boconnoc is a memorable destination tucked away in the Cornish countryside, with cottages and the main house available to book for boutique stays and private events.

Tim Charles

Tim Charles

Sarah, tell us more about the restoration “The restoration of Boconnoc House was huge.

The house had been empty for 40 years or so, with the great south facing gallery wing taken down in the ‘60s due to damp, and a support structure erected against the house. As a child, wandering around it, I remember large areas of walling that had fallen through, revealing the bones of the house. The now beautifully restored staircase was once a damp, unloved space, with a hole down to the basement where one side had fallen in. Looking upwards, you co ld ee he rafter o he roo .

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Tim Charles

D I A LO G U E

How did you tackle the interiors?

By 2010 the house was ready for decoration, which is where Sarah stepped in. “I worked night and day for eight months to complete he r oor bedroo and ba hroo . a a re endo challen e b one ha my father was determined to see completed.

His true devotion was rewarded with two a ard n he o heby ard for Restoration of a Country House, and The Georgian Award.” Inside, Sarah wanted to echo the stories of her ancestors at Boconnoc.

“They were intrepid travellers! Governor Pitt of Madras, who was in India; Hester Stanhope, the great woman explorer: I wanted to echo all of that.”

Do you spend a lot of time on the estate?

“I spend much of my time there.” Boconnoc hold anc en ne a arah p ha great sense of peace and quiet, with the ancient woodlands surrounding it and scarcely mown eado ra e here colon e o bee and other insects thrive. The energy here is truly extraordinary, and although it is my home, it always leaves me in complete wonder.

Walking through the woodlands [replanted and e ended n he by ord ren lle and his wife, Anne Pitt] is a sensation at all times of year, particularly in summer when

e ery b o l e e plod n ro he ear h and trees. But my favourite spot is across the park from the house. Perched amongst the ancient oodland loo bac o er he par land and grounds, up to the deer park. It has a stunning ca er n o b ld n all da n bac o d eren o en n e he able yard or n ance de ned by r ohn oane and rro nded by he ab lo b rop cal a na and ora o he arden .

“A more private, Great Gatsby e e poc e do n he arden al beh nd he ho e where suddenly an enclave erupts out of the rock, lined in palms, tropical ferns and myrtle, and a bea l one ba h once ed by ady Hamilton. It overlooks Valley Crucis – a eep n cene o oa oodland n ll bloo a stream meandering through its course.”

“Waking in Boconnoc,” Sarah explains, here ll he oft coo n ro he do e ha roo abo e he ndo ll o he ho e. a onder lly ca har c o nd.

It all provides food for the soul. Whether yo re n oconnoc or e n e or ay n or e day ne er a l o re ore and inspire.” boconnoc.com

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The business OF PLAYS

Greg Blundell

WO R D S B Y DA N WA R D E N

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I C O N

There are theatres around the world, only a few, where the energy on stage accounts for just a fraction of the drama.

Humble origins Seemingly hewn into the very fabric of the cl e a a n he bac drop o an ele en al r le be een placable ocean and he ndo able cl o ena ade on o he per ec hea re e n con n e o n p re a a e r and pro e onal al e. oday he hea re yo ee ha nder one o e b chan e o er he e h y year nce concep on b a e ber o he a d ence ro ery r per or ance of The Tempest ere o hey d al o cer a nly reco n e .

The Tempest had been a b cce o he and her ardener c ly e o a n pro e en . hrone a b l or Antony and Cleopatra and hey crea ed he early or o any o he a e r c re yo can ee oday. he a e a ll ra co ered player chan ed n o ena ho e nac o e and he a d ence pa d or he r c e a a re le able be ore cla ber n do n he eep lope o he hea re.

e nd bac o hen local dra a en h a p on an n he ele en per or ance o A Midsummer Night’s Dream on a ra y eado abo a le nland ro he nac . e year la er ho e a e player ere loo n or a en e n h ch o per or The Tempest and here be er dec ded o ena or ha con c r cene a or o ed h p a he ercy o he ocean han he cl belo her arden. or n h her ardener lly a l n be een he hey o ed endle ran e bo lder and nn erable ea re o ear h. er he n er o and n o hey crea ed he lo er errace o he hea re h ch are ll reco n able oday. he hea re con n ed o ena d rec on ha

o e ol e nder r ho n o

A B OV E nac ro

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I C O N

l ho h he nac b l n o h e ran e cl no e erybody no ha al o all o h con c a ph hea re ade ro concre e ed h local and. o ena her el carr ed any on o and ro or hc rno o he hea re n concre e ha o ld be ed or ea p llar ep and al ay . any o he ea bear he na e o a play or per or ance each care lly car ed by o ena her el n o he e concre e.

and a r o ay ha or ho e ready n he el e o appear on a e here aren any dre n roo n he orld ha e e l e h one

a all co n alon onder lly b hen o co r e he econd orld ar bro e o . do h be an o brea o o er he channel and ch ldren ere e ac a ed ro he c e any o he o orn all he co n y beache ere een a po en al land n place or an n a on. or he nac h ean clo re or he d ra on. beca e ho e o or ca on and a ade a e ha e h o barbed re. hen he ar a o er ch o he nac had o be re b l ho h he p llbo re a ned er n a a bo o ce n l .

e la h . he ord n e e ed an a l lo . ha e ha e a ory. he h ory o he place really por an a or o olly ha o ena b l n her arden and rned no o ehn ore han he e er a ned. a b y d r n her l e e ob o ly. a e n ll ho e b he ne er b l h any rea plan or he re. he e a o e h n he crea ed n her arden or r end o per or n. ha really one o he ran e h n ha ory o ho happened. ho e er al o he ac ha he loca on r ly nn n . eca e a ery hallo bay h hell and re ec he colo r o he y. nd he r h y el ha e ed he nac on occa on h y par ner ply o and on he cl o de he en rance and a e acro he a er r o e e en on a clo dy day.

Today at the Minack a or ard o oday and he ac l e ha e been care lly odern ed pro d n eno h roo or e en he b e co pan e a ell a plen y o ora e pace or prop and e p en . ncred ble ho ha e ol ed

hea re ana er h l ac on ha been here or he pa year ell n e ery l c y o or n a place l e h . a an ob o e on ha n yo r nd a e o pec al o n e

A B OV E Beauty and The Beast

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Lynn Batten DRIFT--01--ED--Minack Theatre--5.00.indd 121

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I C O N

On a side note I ask Phil if he likes to use the beach. He laughs again, “I probably haven’t been on the beach for ten years. I’m not much of a beach person; I like walking on them, I just don’t do Porthcurno. One of our challenges now is actually the number of people that want to come to Porthcurno, which is why we generally do very little pro o on. e rn do n load o l cre that want to shoot here – more than we let in.

“We alone bring 300,000 people through these narrow roads every year, and they’re just the ones who come for the Minack. We’re having to learn to cope with the Instagram culture. The number of people who just come here to take a photograph!” Of course, that’s what the Minack is all about. As Phil puts it, “we’re running a theatre that’s funded purely by tourists, who come to look around and learn about the place.” t the box o ce Onto the season ahead and Phil explains that most shows are selling out. “We’ve just had Shakespeare’s Globe On Tour company and [at the time of interview] are about to receive Cornwall’s Miracle Theatre.”

Established in 1979, Miracle Theatre is one of the south west’s key arts organisations, producing a heady mix of touring theatre, always with their signature comic style, comic use of language and an immediate visual appeal.

About the Minack, Miracle’s Managing Director, Annie, explains to me that they always look forward to taking their shows there. “It’s always a highlight of our year. As a touring company, which is usually constantly on the move, it’s a great opportunity to stay in one place and enjoy the view with the thousands who come along to enjoy it with us. Cornwall is so lucky that Rowena picked such a perfect spot and worked so tirelessly to create it for us.”

The Minack Theatre promises a regular mix up of amateur and professional productions, but Phil believes that for a lot – perhaps even most – of the people who visit, it’s not about the show that’s on stage. “It’s very much about ‘seeing something at the Minack.’” ow oes mo ern sta e technolo y enhance the authentic inac experience?

“The expectation nowadays,” Phil tells me, “is for people to be able to hear the show clearly. Back in the day, actors would just shout! But we’ve had a sound system in place for 40 years and nowadays, modern echnolo y a e ore e ec e.

Our system with modern technology allows everything to sound more natural. And the same can be said for lighting. This place takes light so beautifully; we’ve had lights for 60/70 years, and the newer ones we use, for one thing, use less power,” which can only be good.

So what oes the future hol ?

“It’s important to say that the Minack can’t grow physically,” Phil explains. “We don’t want to extend the theatre anymore.

What we are doing however, is a lot more educational work. Being a successful theatre, we have our own youth academies, so we’re training a lot of children as well. We also run free workshops for schools. In fact,” he realises, “there’s a school on stage at the moment!”

It’s great to hear that the Minack team are not looking to alter what they do. Having grown up in Cornwall, I’ve never known anybody to campaign for change on that front! Why change a winning formula? But what they are doing, by expanding their reach, is giving opportunities to Cornwall’s younger generations, helping ensure the survival of our great theatrical tradition. minack.com

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IMMERSE

yourself WORDS BY BETHANY ALLEN

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SO U L

When we cross the boundary from earth to water we immerse ourselves in another world, our hearts slow and the clarity of what’s truly important becomes as clear as the water around us.

Based in Port Navas, on the skirts of the Helford river, the Salt Sisterhood retreat is nestled within a beautiful country home, clad in wood with French windows and a terracotta roof; the house blends into the surrounding en ron en o oodland and ld o er creating a welcoming cocoon within nature.

“To connect women with each other, to connect to nature and your environment, and most importantly to connect to yourself.” It’s the core concept of connection that runs throughout the Salt Sisterhood’s unique retreats. Run by water soul and yoga enthusiast, Lauren Biddulph, these retreats provide women with the chance to slow down from the pressures and stress of modern society and immerse themselves in the gentle embrace of the ocean’s touch and the woodland’s warmth.

Lauren has been teaching yoga for four years and has worked on various other retreats, giving her valuable insight into what kind of experience she wanted to cultivate for her guests. “When I collaborated on other retreats a seed was sown, and as that seed began to grow, I realised I could create my own retreats here ra her han he oc be n on r n would be on yoga and wild swimming instead.” r n re rea are appeal n or he r o n reasons, but the fast pace and intense physical exertion can leave you feeling exhausted, comparably the combination of wild swimming and yoga is an altogether more relaxing

a e

experience. The focus here is to slow down and reconnect with our environment and most importantly, with ourselves. “Combining being in the water with yoga and healthy, wholesome food; to nourish mind, body and soul.”

For Lauren, the inspiration to pursue wild n e ed ro n ero n ence throughout her life. Reading Wallace J Nichol’s novel Blue Mind, for example, opened her eyes o he c en c e plana on beh nd hy e feel a connection to the water and why being near water, in any form, has an immediate po e phy olo cal e ec on he body. well as this, Lauren has been an avid surfer for the last 15 years since moving to Cornwall to study Illustration at Falmouth University, and, having grown up on the Isle of White, she cannot imagine a life without the ocean at her n er p . he bene o ld n o beyond the physical: as Lauren has experienced r hand al o ha an a a n e ec on en al heal h. ed o er h an e y and issues with my mental health in general, one of the things that helped me was getting n he ea beca e after ard al ay el rene ed. oon a d n y head nder he a er le o o e ery h n ha per c ally worries me. When you get in the water it’s like nothing really matters, you’re just here in this space surrounded by nature, allowing you to reconnect to the bigger truths of life and reset your body and mind.”

e h rch ll

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Immersing yourself in cold water in particular is profoundly good for us: it shocks our immune systems into overdrive, making them work faster and the more frequently you do it, the ea er yo r body nd o re la e yo r body temperature. It also promotes the production of dopamine, the feel good hormone that is released during any form of exercise (see Blue Mind pp.21, 24, 25). For some, cold water is a daunting prospect, however the secret is not to tiptoe or walk in; you have to plunge and within a minute your body will adjust to the new temperature. “Initially some of our guests are scared by cold water but by the end of the week they don’t want to get out.” Every day guests are a en o a d eren local beach each one a magical as the next. hen after a day pen a d na ral and beautiful surroundings, invigorating the body with yoga and swimming in open water, returning to the country home is like nestling into the warm chest of a loved one. “The

a e

home is open and spacious but there’s also an element of cosiness, the intention is to contrast going down to the river and swimming with the warmth of blankets, and a nourishing meal to welcome you on your return.” In response to the atmosphere and overall experience of the retreat, guest Sabine who visited from a b r pro de a r hand acco n o what joining the Salt Sisterhood is like. “This was a very special retreat. I was just expecting o e day o or n a n ce loca on b from the minute we stepped into the beautiful spacious house, where the air was smelling very promising of melted chocolate (vegan brownies in the making by the two lovely chefs Tess and Jo) it felt like we were stepping out of the real world. Lauren truly created the perfect getaway. Early morning swims in the sea, little mindfulness practices here and here a a n ood all day lon yo a n all forms from moving and sweating to restorative and meditation, and of course the sea! e e plored any d eren place and picturesque scenes all captured by talented pho o rapher e ho oo p c re n and out of the water. I am really thankful for this experience and can’t wait to be back.”

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SO U L

When discussing the Salt Sisterhood with Lauren, the thoughtfulness that has gone into creating the retreat becomes increasingly apparent as our conversation progresses. The combination of yoga, wild swimming, a cosy and welcoming country home and nutritious food are already the ingredients for a well-balanced and restorative retreat. Lauren then reveals that there is a theme to each day of the retreat and that each theme relates to an activity. Bravery, creativity, self-care and grounding are the main themes that are engaged with during the week.

“Bravery involves optional rock jumping and this is also tied into the theme of the yoga session, our chefs then try to connect the food to the theme as well, which is awesome.

For creativity, our focus is drawing; self-care incorporates notions of mindfulness and ed a on and nally ro nd n en a e h the concept that the earth carries a charge and it’s important for us to connect to this charge.”

The underlying value of connection within the retreat also extends to Lauren and her husband Patrick. Patrick is the retreat’s lifeguard and as an illustrator by profession (Cornish Lines),

he leads the creativity drawing session as well.

This collaboration between the couple lends another layer to the retreat, one of love and support that extends throughout the group and creates a family-like atmosphere. Guests have commented that the retreat feels like a ‘bubble’, an escape from reality and a safe place where r end h p are o nded and con n e lon after they leave the Helford’s mesmerising shores.

The Salt Sisterhood provides guests with the chance to submerge themselves in another world, a rejuvenating cocoon where the fast pace of life slows by the sea’s touch. The restorative yoga classes complement cold water swimming and the wholesome food will energise you ready for the days ahead. In a world that’s so full of distraction, where connections come in the form of blue screens and phone calls, it’s important to value the other connections that we should all strive to maintain. Connections to the present moment, to the natural world and most importantly, to ourselves. thesaltsisterhood.com

Images: Lizzie Churchill

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Aof sense WORDS BY F I O N A M C G OWA N

PLACE

Catherine Alliott has written 16 novels and is still on a roll.

W

ith her latest novel, A Cornish Summer, based entirely in her favourite county, Catherine talks to Fiona McGowan about why she loves Kernow and how it has been woven into so much of her work. “I remember reading JD Salinger when I was younger and it was a bit of a eureka moment, because I didn’t know you could write conversationally like that, in a chatty manner.” It was The Catcher in the Rye that caught Catherine Alliott’s attention, and it’s easy to see the threads of that 20th century American style of c on n her boo . a a ery lon e after reading Salinger before she put pen to paper and began writing novels. Catherine’s career began in advertising – after dy n r h and er can l era re at university, she became a copywriter for an ad er n a ency n ondon. he n ence o Salinger and other American writers of that ilk was even intrinsic in her work in advertising, she says, “I remember being taken aback that you could write in such an approachable conversational way. It’s what I tried to adopt when I wrote advertising copy.”

ery a hor ha a d eren ory abo he r literary journey. While some writers always felt destined to write books, Catherine had always thought she had no such ambition in her youth.

Until, that is, her dad dug out a book that she wrote, aged 12, complete with complex story structure and illustration: “I obviously liked the eel o r n e en bac hen. a only when Catherine had moved to a new agency where the work was less challenging and less compelling (“I moved jobs for the money,” she admits) that she began to write a novel. Essentially writing it under the desk, “It happened as a result of not particularly enjoying my day job. I basically got the sack, because they realised I was doing something else,” she laughs. And well she h be a ed. e n ac ed ro ha ob ar ably led o her be n he prol c a hor he is today.

A brief time working as a freelance copywriter was brought to a halt when her husband and brother convinced her to send her novel to an agent. In those days, she says, it was much easier to be considered by an agent, and the

INSET Catherine Alliot (Image: Neil Cooper)

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Geoff Squibb

L I T E R A RY

route to being published (by Hodder Headline) a c and ea le . he c on he had written arrived on the desks of the editors at a time before ‘chick lit’ was even a thing. It was intelligent, yet approachable – a story whose characters came before plot. It must have struck a chord in 1994, the smart publishers perhaps sensing the imminent change in the zeitgeist, when women’s literature became more fun and light-hearted, addressing with honesty and humour the social and psychological complexities of modern womanhood.

For Catherine, perhaps another selling point was her inclusion of Cornwall in the story.

Adding an element of a beautiful coastal environment automatically jettisoned the book to ‘holiday read’. She was lucky, she says, that Cornwall was something of a second home to her. As a child, Catherine and her family spent every single summer holiday in Cornwall, staying in the slightly unusual destination of

e lyn. en ance ne hbo r n h n por was then, as now, dominated by a busy, working dockside and workaday vibe. It was also home to a discerning artist community, which was what attracted Catherine’s father, who was a keen painter. “What I love about Newlyn is that it has quite an edgy character,” says Catherine, b ore por an ly a he e n o point for her visits to the coves and beaches and coa pa h ha often ea re n her or e today. Later on, she and her husband would holiday on the Helford estuary, and took their children on family holidays to Rock, although it ore often o ho e e lyn hol day ha he returns in her head.

While it can be hard to avoid the clichéd descriptions of a region as famously stunning as Cornwall, Alliott says that her knowledge of the county has enabled her to write it with a real sense of place – almost a character in its own right, rather than a stereotypical backdrop to a

A B OV E Frenchman’s Creek, on the Helford

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tale. One of the deep themes running through her latest novel is the sense of attachment to the land itself. Families that have been rooted in a place for generations have a peculiar draw to hold onto the very soil itself, as though it is a visceral connection with their ancestors. e re al n abo a a ly p le on he cl overlooking the sea,” explains Catherine, “With that comes the complications of the land. How much they’re attached to it and whether they’re attached to it too much – whether it’s easy to leave and live your own life. It can be a poisoned chalice for future generations.”

While the family in A Cornish Summer is loosely based on other landed gentry she knows elsewhere, she believes that the ties that attach them to the land will be as strong, if not stronger, in this more remote part of the country.

Catherine freely confesses to having a romantic view of Cornwall – she is not oblivious to the economic and social issues facing the area, and she has local friends who remind her of how hard it is simply to get out Cornwall to go on holiday or go for a ee n n ondon. he ay her a l ar y with the place keeps it real. “You have to write about places that you know well, so it’s a real, living breathing place. If you bomb in and start to write about a place that you don’t know – I have tried that before. I’ve thought – I’ll set this o e here really lo ely l e he al coa . o co r e doe n or Writing novels, especially once you have a contract with a publisher (Alliott is now with Penguin / Michael Joseph), is very much a job.

Catherine works best in the morning, she says, so she writes from 9am to around 1pm every day. he hardly e er a e ee day o hen

she writes a novel, and used to be unable to a e a hol day n l he an cr p a nally en o . er proce h ee labor o to many – every single one of her 16 novels has been written out longhand and then typed into a word processor (“So there are no interruptions from emails or the internet”), but there is certainly method behind it. When you write things out in notebooks, she found, you are less likely to write purple prose, and likely to be precise in what you put down.

And there’s no self-editing as you go. Even if you cross something out, there’s no dele n ore er. once the book has been written and published, “I do chuck my notebooks away. Some people say I shouldn’t, but I get so sick of looking at them. l o nd e hard o move on from the characters if they’re still lying around.”

A Cornish Summer does feel romantic; it also feels timeless – while it is very ch e n odern r a n there is something almost ool h or r de head y about the family issues, the way the characters connect. The protagonists, while struggling in o e ay nanc ally or oc ally ll e in an upper-middle class spectrum. Although there is something soothing about this kind of story, it doesn’t pull its punches, either. There is a bit of everything, and the familial drama is bound to hold the reader engaged – whether on a Cornish beach, on the beautiful, but seemingly endless journey on the train from Paddington, or on the daily city commute. It not only brings Cornwall to life, it’s every inch the soap-operatic page turner you’d expect from the genre. penguin.co.uk

INSET A Cornish Summer by Catherine Alliott Penguin, Paperback, June 13th 2019

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BEHIND

blue flags the

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WORDS BY BETHANY ALLEN

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SU STA I N

Cornwall is renowned the world over for its opalescent waters and gold sandy beaches.

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urrounded by the Atlantic on all sides but one, Cornwall is deeply connected to the ocean. And when you visit our sandy county, so too are you. As humans, we feel a natural pull to the water. It nourishes something within us and in summer, people from all over the country make for Cornwall’s beaches – making the most of miles of golden sand, clear turquoise waters and secret coves.

This May, environmental charity Keep Britain Tidy announced that 22 beaches in Cornwall have been presented with Blue Flag or Seaside awards. Awarded by the Foundation for Environmental Education, the iconic Blue Flag is an international mark of quality, presented to well-managed beaches with excellent water quality and environmental education programmes. Similarly, the Seaside award is presented to the best beaches in England, celebrating the quality and diversity of our coastline.

“It’s fantastic news for Cornwall’s holidaymakers, overseas visitors, residents and businesses,” says Keep Britain Tidy’s Chief Executive, Allison Ogden Newton, “that e e been able o a ard an a a n a

to the county’s beaches this year. The success of reaching the high standards of both awards is testament to all those who have worked so hard to protect and improve our beaches.”

Beaches that have been awarded Blue Flag status include: Gyllyngvase, Porthmeor, Great Western, Porthtowan, Trevone Bay, Widemouth Bay and Carbis Bay. Seaside Awards have been presented to: Crackington Haven, Gyllyngvase, Great Western, Perranporth, Polzeath, Porth, Porthtowan, Porthmeor, Porthminster, Sennen Cove, Trevone Bay, Widemouth Bay, Crooklets, Summerleaze and Carbis Bay. Such a string of awards would not have been possible without the support of Sharp’s Brewery. Based in St Austell, Sharp’s is surrounded by the rugged beauty of Cornwall’s north coast and strives to support the coastline that inspires its creativity. As such, o er he la e year harp ha pro ded vital funding for the Blue Flag and Seaside award applications, in Cornwall and beyond, contributing over £42,000 towards the costs of the applications, and other vital Blue Flag related projects.

LEFT Sunrise over St Ives

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“Cornwall’s coastline and beaches are deeply important to us,” elaborates James Nicholls, Senior Brand Manager at Sharp’s Brewery.

“We are delighted to have supported the hard working beach champions and local volunteers.

The team at Sharp’s fully appreciates the hard work and dedication that goes into gaining and keeping so many iconic Cornish Blue Flag and Seaside Awards.”

When it comes to protecting our beaches, maintaining the water quality and providing environmental education, collaboration is key. Every year thousands descend on Cornwall’s beaches and with people, comes litter, so making sure you get rid of it responsibly is really important. A crisp packet that blows away on the breeze will last in the environment for thousands of years, breaking into micro-plastics, plaguing our oceans and, ultimately, our food chain. Watch ‘A Plastic Ocean’ for more information on this issue.

Initiatives such as the Beach Guardian scheme and Surfers Against Sewage encourage and inspire individuals to get involved and contribute towards keeping our coastlines clean, and both schemes provide educational programmes within schools to help raise awareness and promote the diligent care of our coastal environment.

The Beach Guardian initiative was founded by Emily Stevenson and her Dad, Rob Stevenson, with the mission to keep our beaches, oceans and waterways free of litter pollution. Beach Guardian believes in the power of working together to drive positive change, supporting the #2MinuteBeachClean initiative and leading Surfers Against Sewage beach cleans.

Set up by Martin Dorey and Tab Perry the #2MinuteBeachClean is a social media led initiative. It promotes the concept that if everyone who visits the beach scours the sand and collects litter for just two minutes, together, they would contribute a huge amount to keeping our coastline clean.

Having studied marine biology, Emily is deeply passionate about the marine environment.

“The plights of plastic have reached every corner of earth and every aspect of our daily lives. Plastics have become one of the deadliest plagues to ever face humanity; it’s in all of our lives, and we can all do something to make a d erence. doe n a er here yo are or what you do, you can start small or go big.

Instead of buying bottled water carry around a re-usable water bottle and the same goes for co ee c p or o n n on a beach clean. each clean n no only bene he el are o he environment, it also equally improves your own mental health and well-being and we ha e een r hand he d erence ha

RIGHT Porthminster beach

A B OV E Surfers Against Sewage at Watergate Bay

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SU STA I N

beaches, waves and wildlife, organising beach cleans, lobbying for environmental acts to pass in government and educating the next generation of ocean activists.

one hour on the beach picking up plastics can make.” The concept that beach cleaning can contribute towards your own mental health is all the more reason to participate: just as it feels good to have a clean and tidy home, the same can be said for maintaining the beauty of our natural environment. And just as we have all experienced the fascination and focus of scouring the sand for shells and pebbles, the same sense of discovery can be said for picking up marine litter. So, next time you head to the beach, grab some gloves and a canvas bag and get collecting – you’ll be surprised by how re ard n hen yo decan yo r nd n .

As well as conducting community beach cleans; Beach Guardian also conducts educational workshops with schools and other groups, lending towards the Blue Flag requirement of environmental education programmes. These programmes aim to connect people to their environment and drive positive change, as well as championing he en al heal h bene o e n n ol ed in keeping our coastlines clean.

Similarly, Surfers Against Sewage, is a charity that aims to inspire, unite and empower communities to protect oceans,

It’s organisations such as Beach Guardian, Surfers Against Sewage and #2MinuteBeachClean that have contributed towards Cornwall receiving these esteemed awards. A fact that hasn’t gone unnoticed by Cornwall’s Cabinet Member for Environment and Public Protection, Sue James. “I want to thank everyone across the Cornish community ho el e ly and rele ly ded ca e he r e o loo n after o r bea l beache . r local a and any ol n eer ho ra e awareness about harmful marine litter and organise beach cleans play a really valuable role in helping us to protect and maintain Cornwall’s reputation as a great place to live and a wonderful place to visit. They should all be rightly proud of these awards. As should Sharp’s Brewery for once again playing a key role in sponsoring the Blue Flag and Seaside applications.”

It’s a fantastic achievement for Cornwall to have been presented with so many Blue Flag and Seaside awards. Our county is undeniably blessed with its spectacular coastline and it’s an honour to be able to pro dly ra e he e a abo e o r beache .

With incredible organisations the likes of Surfers Against Sewage, Beach Guardian and #2MinuteBeachClean contributing a massive amount towards protecting our coastline and making it possible to receive this recognition, “We are thrilled to have so many Cornish beaches represented amongst the world’s best,” Sue summarises. “The 22 Blue Flag and Seaside awards are an important symbol of what we who live here already know – that Cornish beaches are in fact world-class.”

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HELPING

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Xxx Xxxxx

WORDS BY LEWIS JEFFERIES

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SU STA I N

As our sheries face increasing pressure to supply an ever growing population, the National obster Hatchery wor s to protect the UK’s most valuable marine species.

R

earing the next generations of Cornish Lobsters through their early stages, the National Lobster Hatchery gives this valuable commercial species a far greater chance of survival in the wild.

developed and tested to rear hatchlings for longer, in a more natural environment out at sea. As we watch the lobster larvae – in their plan on c a e oa n n he ec rc la n ac l re y e arly e pla n how they receive their mother lobsters.

The European Lobster (Homarus gammarus) is the UK’s most valuable marine species with many coastal communities relying upon it to make their living. To help support the sustainability of wild stocks The National Lobster Hatchery (NLH) in Padstow was opened in 2000. They rear hatchlings through their smallest stages and – according to their website – increase their chances of survival by up to 1,000 times. It is led by researchers and c en ho collabora e h her en local restaurants and the community to help a n he local hery. oc enhance en n a e l e he co ple en her e management measures to help conserve and sustain exploited commercial species like the European lobster.

e rece e e ale ro local her en when they catch them berried up with eggs.

We take them in to the hatchery usually at a later stage in the incubation, when they are ready to hatch their babies into our tanks.”

Dr Carly Daniels is the Head of Production, c ence and e elop en a he and has been working there since 2004. Her work with lobsters began when volunteering at the hatchery as part of her Marine Biology de ree a ly o h n er y. he al o leading the hatchery’s newest project, Lobster Grower 2, where new techniques are being

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Lobster life cycle n he r o o o r ee baby lob er are cla ed a plan on c ean n hey oa around suspended in the water column. They grow through a process called moulting where they shed their shells and take on water to increase in size. The hatchery rears juveniles hro h he r r o r a e here hey are ep n ec rc la n ac l re y e which mimic conditions in the wild by keeping he oa n .

Once they reach their last larval stage they are hen ran erred o he ah e systems to separate individuals and prevent cann bal . ach a h e can carry p around 4,000 animals, and we have a capacity of 20,000 in total.” says Carly. When their last planktonic moult is complete – at around three months old – they possess the natural instincts they need to burrow and shelter on or in the seabed.

Currently, they release lobsters around orn all and he le o c lly n o methods; dive release, where volunteer divers will take a small number and release them on a able ree d r n a d e and o hore relea e here her en relea e lar er umbers from their boats, using a specialist lob er oo .

Fishing frenzy According to the hatchery’s website other lob er pop la on n cand na a and he Mediterranean have totally collapsed due o o er h n and ho no n o reco ery. lon h her e ana e en measures the hatchery’s work plays a vital role in making sure UK stocks don’t go the same way.

The hatchery are working closely with local her en and re a ran and bel e e ha having the whole industry involved is the best way to the common goal that is a sustainable prod c e hery. an ncen e he her en are compensated £10 per kilo to hand over berr ed hen . hen an e bear n e ale landed he her en ll phone he ha chery who send a technician out to collect it.

Headstanding hens Chris Weston, a technician at the hatchery, holds out a berried hen to show us the eggs around her pleopods (feathery parts underneath the abdomen). A single female can carry anywhere between 2,000 and 45,000 eggs depending on her size, however only about 1 in 5,000 of these is expected to survive when laid in the wild.

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“In the brood system where we keep all our hens, we’ve got two cold water pools that are set to lower temperatures than the other tanks. This allows us to extend the natural season and bring the eggs on when we are ready.” This would normally be between March and October but cooling the female slows the development of the eggs. This gives them a larger capacity and ab l y o hold hen a d eren a e of incubation.

Ancient arthropods Lobsters’ ancestry dates back to the Jurassic period when they shared the planet with dinosaurs. They are believed to live up to 100 years in the wild and the largest European lobster ever landed was in Fowey in 1931. It weighed a staggering 9.3kg and measured 50 inches in length.

They have an unmistakable appearance – dark blue armour with yellow, white and red markings, large powerful claws and long red antennae. However, they may change colour slightly when they moult – around once a year as an adult – but only turn bright red once coo ed. he cla d er n hape ally one is larger and used for crushing prey while the opposing one is usually lighter and used for slicing.

led to a new project to cultivate animals for longer in protected natural environments – the Lobster Grower 2 project (LG2).

Led by NLH, LG2 has had great success in rearing lobsters for a further year out to sea.

The hope is that this will act as a transition step, introducing them to ecological factors that will make them less vulnerable to predators and therefore, have an even greater chance of survival. This will ultimately pro de ore po e bene or ld oc and he h n ec or and co ld al o bene the marine environment in the process by pro d n ar c al ree . he o en dred ce c l or he hatchery to monitor success rates as it is nearly impossible to track one of their lobsters once released – at only an inch in length, physical tagging is not an option. “We have a lo o anecdo al e dence ro her en n areas where they have done releases and have found animals to be the size you would expect from the length of growth time, and they are no nd n a any a h e n o her areas,” says Carly. Although this observation is a good indicator, the hatchery also strives o pro de r her c en c e dence o support release age and post release survival rates. Combined with larger lobsters reared Katie Sindle

“When the hen is ready, she will do a headstand to release the eggs. They then na rally oa o he r ace n he ld this usually happens at night for safety, so preda or can ee he lar ae. ay arly.

In the hatchery they will be collected and transferred to the larval systems to begin he r r o l.

Lobster Grower 2 project fter he ha chery proce a ro hly hree months old they still remain small. Despite their natural instincts, due to their size, they may still be susceptible to predation. This

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Corey Holtedit

SUSTA I N

hro h on ro n r al h ll allow the NLH to improve and quantify their pac on he hery.

DNA sampling The NLH take DNA samples from all their hens – one from the pleopods and one from eggs – which means they have DNA that will help them identify their lobsters once released. In conjunction with the University o e er he r nn n a pro ec r ech orn all nded pro ec ha ll develop the genetic techniques to allow them o den y ha chery reared an al abo e o e en year after relea e. e ha e been a n a ple or aro nd e year no and are almost in a position where we can start o a ple he hery o ee ho e ec e our work is.” Presently most of their work is based on other stock enhancement programs elsewhere but that’s something they are working to change.

The NLH are partnered with a local mussel company – Westcountry Mussels of Fowey (WCMF) – who help to install and maintain the containers out at sea, next to their mussel lines. This reduces the carbon footprint of the project and its existence crea e an ar c al ree h ch help he natural settlement of a diverse array of species and provides feed for the lobsters’ development. Other project partners include The University of Exeter, The Centre for n ron en her e ac l re c ence and Falmouth University.

What can you do to help?

A donation scheme set up by the hatchery na ed y one e one ree a d ner a 15 UK restaurants to donate a small amount when enjoying a lobster, which pays for the rearing and releasing of a juvenile to replace the one they’ve just eaten. When you visit a seafood restaurant, look for the sign, and if you buy a lobster, be sure to donate!

Another way to support their work is by becoming a friend of the hatchery via a monthly donation. You can also adopt a lobster (or a whole family!) to fund rearing, from egg collection through to to release. hen b y n ea ood loo o or cer ed sustainable species; check out the Marine on er a on oc e y ood h de or conduct research of your own before buying.

The future looks promising The work of The National Lobster Hatchery continues to grow and become more successful every year. In addition to their newer hatchery in Newlyn harbour – established in 2017 – they hope to extend to more satellite hatcheries and partner with more restaurants. In addition, the techniques and expertise developed during LG2 could see fully cultivated lobsters appearing on UK menus in years to come, which would be a pioneering step in the charity’s work. nationallobsterhatchery.co.u

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THE ART of

boat building Chris Tuff

WORDS BY CHRIS TUFF

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NAU T I C A L

The natural curvature of wood, its organic, timeless lines, is at the beating heart of one of Cornwall’s nest boat builders.

When I arrive in Mylor, at the Creekside boatyard where Cockwells have been based nce a en a o r. ne o he boats that is in for refurbishment has just arr ed ro n be . ho a do b he o bea l boa ha e e er een. jaw dropping, eye popping, elegant lines and oo h eep n con o r are nn n .

Even by Cockwells’ standards this is a per odel o boa . belon o an ar who worked with Cockwells to create what can only be described as a sea-going work of ar . he a en on o de a l a er n e en down to the head lining of the cabin which is made from hand painted silk, created by the ar . e ply a a erp ece.

for someone who has created a multi-millionpound empire building world-renowned l ry o or yach and ender . a a e o p he n e appeal o a oc ell boa . e le pa e br e y and then simply says “I think it’s that my boats look like a boat, or what a boat should look like and our clients like what I like and ee ha ee. o e people can ee b hey re no o r cl en and ha o ay. nd that is exactly it, the appeal of a Cockwells boat, is that it is the epitome of everything a luxury boat should be: chic, sophisticated and re ned a co b na on o brea h a n de n and yl n h per or ance o a ch.

he dr n orce beh nd he co pany Founder and Managing Director Dave oc ell. e ha arr ed bac a he yard from handing over a new boat to yet another del h ed cl en . hen ee h he d ar n ly do n o ear h and el e ac n

Chris Tuff

T

here is no mistaking a Cockwells boat, the signature, sleek lines and sensuous curves, the beautifully hand crafted and n h. hey e de a en e o yle and pre ence h l star good looks that hark back to the heyday of Hollywood and Cote D’Azur glamour of the and . obody el e a e a boa e l e oc ell .

A B OV E Dave Cockwell

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NAU T I C A L

ery h n ho and crea al y only e ly h a en eel h per and ha understated, timeless elegance that appeals to the more discerning boat buyer who likes he ner h n n l e and apprec a e al y.

While classical contours with a crisp, clean, modern twist give the boats their sense of purpose, poise and performance in the water, he h he le el o ar an craft an h p and creative use of traditional materials ch a oa ea and aln ha de ne he r charac er and al y. ery boa a masterful, bespoke blend of cutting-edge design and an all but lost art of traditional boa b ld n ll ro a by one a e.

Chris Tuff

Although Cockwells are adept at using co po e carbon bre and bre la and e brace he al e hey br n hey are best known for working in wood and Dave oc ell a an h a ooden hear . e e pla n ha h ne ably n ence he loo o h boa . al ay h n n n ood and being a natural material, it gives you a na ral c r e. al ay loo a a boa de n and think how would I build it in wood? It’s the constraints of working with wood that gives you the natural beauty and organic lines o o r boa .

Cockwells’ passion for boats started at an early a e. ro n p n r ol he helped h a her b ld a all cab n cr er and after years of gaining boat building experience in his teens and twenties, as a freelance boat builder and running a successful boat b ld n b ne n r ol he reloca ed to Cornwall in 2002 where the legend of oc ell a born.

Chris Tuff

A year later he took two boats, a wooden motor launch and a pilot cutter he was building, to he o ha p on oa ho . hey ere he only wooden boats at the show and he sold bo h. nce hen oc ell ha pre y ch a n a ned a ll order boo . he co pany cce depend on he ll and e per e o cra en. a e Cockwell may not be as hands-on with building boats these days, but sees his role as a mentor to a new generation of boat builders, passing on his knowledge, expertise and experience to create a tight n a ly o h hly lled ar an .

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NAU T I C A L

Cockwells’ customers may be discerning but they also have to be patient, the current delivery time for a new boat is around two years but for those willing to wait there are few who would ay a no or h . a e oc ell ay ha he wants clients to feel the same pride he does in his boats. “You’ve got to feel safe, proud and look really gorgeous. When you come into a marina you want to know that you’re going to turn heads.” Owning a Cockwells boat means that you become part of a select family and co n y o o ner ho ore often han not, have an ongoing relationship with the company and return the boats for periodic routine maintenance and refurbishment.

On the water the boats really come alive. A ooden boa eel d eren and e en o nd d eren e er ofter h a real eel n of solidity. For Cockwells it is not just about gorgeous good looks. It is about creating boats whose seakeeping qualities are second to none h con den pred c able handl n and h h performance for those with a need for speed. or he re a e oc ell ay ll be more of the same. Cockwells have no grand plans for expansion or mass production. They will simply keep on doing what they have always done and what they do best and that is to build beautiful boats, beautifully.

While Cockwells’ design queues and build quality pay more than a passing nod to the past, they are very much a forward-looking company and have embraced the latest technology. epp n aboard a h r y e oo chy o or launch I am immediately struck by the high

cockwells.co.uk

Chris Tuff

He explains that he is not just selling a product but a service. The company works closely with its clients to understand their individual wants and needs and create boats that precisely meet them and always aim to exceed them. He points out that unlike buying a luxury car, because even luxury cars are built on a mass-production basis, almost everything Cockwells produce is a one o and a e ha a r hand n e ery boat they make. Nothing leaves the boatyard without his personal stamp of approval.

tech touch screens on the dashboard which initially seem slightly incongruous among the chrome-rimmed analogue dials and gauges, but a e n ana er ll a d on e pla n great care has been taken to keep the user interface and displays simple, cleanly designed and easy to use and that is the point. The a o a ed y e and oft are ha e been developed to unburden the boat owner from manual monitoring and routine checks on bilge pumps, batteries and other systems, leaving them free to simply enjoy the boat. The system can even be controlled by an app on your phone so that when you arrive you are ready to go and even if you are hundreds of miles away you can still be connected to your boat.

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T I M E L E S S

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Equipped with the latest evolution of the a era l re en ne e her an econo cal rbod e el or n rbo pe rol the Levante maintains the unique Maserati signature sound and, of course, exceptional performance. Sports car devotees in need of a practical vehicle, for whatever adventure h be aro nd he corner cer a nly on be d appo n ed. n ed e c o a on co e n he or of a Sport or Luxury package, resulting in a driving experience as unique as the Maserati brand and c o er .

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LIFE

cycle W O R D S B Y C O L I N B R A D B U RY

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D I A LO G U E

For Joe Healey, father to a growing family and co-director of one of Cornwall’s most successful businesses, life is most certainly for living.

J

oe Healey may be responsible for one of Cornwall’s biggest businesses, but he’s slightly distracted this morning by the large patches of skin missing from his right shoulder, hip and leg. Competing in a bike race in Exeter the previous evening, Joe found himself going downhill into a corner at 35mph in the rain and, well, you can guess the rest.

Cyclists have a phrase – ‘road rash’ – for what happens when you hit the tarmac at high speed and that’s what we have a severe case of here.

Because as well as being joint Managing Director of Healeys Cornish Cyder Farm, Joe is also a competitive bike rider, part of Cornwall’s r l e le el cycl n ea an ran ro Cycling. Throw in his roles as husband and father and he’s a busy man. We’re meeting in he lar e b co y re a ran a enhallo be een ne and e ay here he apples are grown, the cider made and the bo le lled and labelled. one o orn all biggest business success stories. oe and older bro her a oo o er he day o day r nn n o he a ly en erpr e abo e years ago and have overseen a huge expansion of he year old opera on. a er n bo le and e o a ler c der no roll o the production line each and every day. With its n la e ear n ra le na e adorn n he label he con c brand old n p b and all major supermarkets across the UK.

The story of how the Healeys got into the c der b ne ar ed al o year a o and shows that the entrepreneurial spirit runs in the family blood. Joe’s father, David decided o cond c a b o ad hoc ar e re earch a he o l cence he o ned. e re labelled some bottles of cider with a ‘Cornish’ brand and put it on the shelves next to the original product. When it outsold the other brand by some way, he saw an opportunity. He bought a allhold n near ell n alled a c der pre and a oe ay beca e he r per on to make Cornish cider.” n a d and h e ay oo a h e nanc al a ble and bo h he ban r p dairy farm that is now Healey’s Cornish Cyder Farm, with a plan to plant some orchards and start producing cider on a larger scale. Joe was just two weeks old, and his brother 11 months, when the family moved in.

“Everyone told my Dad he was a crackpot,” laughs Joe. “There was no water or electricity and most of the buildings had no roofs.” But with the support of David’s father and the unwavering faith of his wife, he took the pl n e plan ed he r apple ree and he rest is history. lon he ay he a ly dec ded ha a ell a producing cider, they would also turn the farm into a visitor attraction. To say that has been

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D I A LO G U E

a success would be a massive understatement. o e people a year no co e o ee cider being made (and to taste it of course), tour the orchards, meet the farm’s animal residents and enjoy homemade food in the restaurant.

That makes Healeys one of Cornwall’s leading or a rac on . nd oe een o re ha it’s not just for tourists. He wants Healeys to be somewhere that locals come to eat and drink a ell o e h n hey bac p by o er n a discount to Cornish residents).

Healeys remains a family business, and the next generation is now very much in charge. Joe and a ar ed he r en reprene r al l e early hen a year old hey collec ed apple from the orchard and sold them to the tourists o eed he an al . oe ay ha a o r r b ne a rea n h le chool holidays were spent working at the farm, there was no assumption that the two sons would eventually take over the organisation.

To get some experience of life outside the family business, Joe went to Bath University and then on to work for Coke Enterprises. The highlight a h role a en e per or a he ondon ly p c or he er can oft dr n giant where he was lucky enough to get into the stadium for Great Britain’s famous three gold edal per a rday e en n .

But the bright lights of London couldn’t keep him away from Cornwall and he rejoined ealey oon after. h oe a o rad n and bro her a n char e o pera on he a e ell ho oe p their respective roles), Dad threw them in a he deep end n hand n he he responsibility for the project that transformed the business into what it is today. Building a new visitor centre and restaurant, and taking the manufacturing facility from producing bo le o c der a day o per ho r was a huge ask and Joe says it took a couple of years to get everything running smoothly.

oe and a no r n he b ne h their spouses. Joe’s wife Lara manages all drinks sales to pubs across the country while a o her hal eor e deal h ano her b ne o e hol day acco oda on. ha ncl de a acre e on he ed e o r ro a re ll an here hey ha e plan ed ne a a r ep n o he ne b ne . hey are hop n o la nch he r r par l n ne n h he a d o an opera on ana er ho happen o be a or er e ealand ‘Winemaker of the Year’.

With all this going on (Joe and Lara are also expecting their second child in the autumn), last year Joe joined the Elite level Cornish cycling ea an ran. oe a a por y yo h a nly r by a be a r e orn h an b had al o dabbled n r a hlon . l ho h nce that included tackling the famously brutal ron an d c pl ne dabbled o ehn o an understatement. a e l ee n h orn h b e nd ry le end chard a coe e h on he pa h o a parallel l e a a co pe e cycl . a coe no n o all a cc o n he lon e abl hed e ha n hop n edr h a well as a café and bike hire business on the Mineral Tramway at Bissoe. Three years ago he e abl hed he a n ran ea o e Cornish riders a chance to develop their talents and compete on the national stage. d dn a e ch or cc o per ade someone as competitive and focused as Joe to try road rac n and n h r ea on he pro re ed rapidly through the ranks. He also appreciated the team’s emphasis on developing Cornish talent, so it was a natural step for Healey’s to ar pon or n a n ran. h pec ally branded cider, sporting a distinctive race jersey label, Healeys joins a long list of local businesses ro rn c o orn h o ee Tregothnan Tea and luxury property company ohr o e n ppor n a coe on.

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D I A LO G U E

The team burst onto the national scene in June, with an appearance in the seven race o ner y o r er e rece n e en e na onal co era e. n an n en o b o marketing, the tops of the riders’ helmets ea red he a ler lo o o ha e ery ea team member put their head down to sprint for the line, the Healey’s rattlesnake was grinning at the TV cameras.

straight, if the smile at the welcome desk isn’t right or if the grass on the verges isn’t cut, it all re ec on . nd de p e recen rap d ro h ealey re a n a orn h b ne . oe ay o e people h n we’ve grown so large that we make our cider el e here. o. ery h n ha al ay and ll always be produced on site here in Cornwall from our family farm.”

oe al o o ned orce h an ran o la nch he a ler ro de n local cycl he n e oppor n y o h he road h he team’s professionals. Last autumn’s inaugural e en h ch ar ed and n hed a ealey der ar a rac ed par c pan . a such a success that it is being repeated his year on a rday h ep e ber h he oal o doubling the number of riders. Three routes are a a lable and le o here something to suit everyone. With all proceeds o n o nd a n ran de elop en he organisers see it as a great opportunity for the local cycling and business community to get behind the Cornish team.

healeyscyder.co.uk saintpiranprocycling.com

nd oe ee ealey role n he broader con e o ha orn h co n y. h ll e a r n o n pea or season, the company is a major local employer. eople h n here are no proper ob n Cornwall”, he says. “But here, under one roof we have jobs in sales, marketing, production, nance and lo c .

He is proud that they are now big enough to provide talented people with career opportunities. “For example, someone who started with us on the sampling counter n ne year a o no ead o ale and a instrumental in getting our products into national supermarkets across the country.”

Ultimately though, Healeys is still a family business, and Joe wouldn’t have it any other ay. e re here all day e ery day. o r rna e o er he door. a label no on

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Remote C H A R I T Y

RESCUES WORDS BY BETHANY ALLEN

The life of a Critical Care Paramedic for the Cornwall Air Ambulance.

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er n orn all ee an n of visitors travelling to the county o e per ence lon day on pr ne beaches, leisurely walks along the coast pa h and he b n a o phere o harbo r o n and h n lla e . he b e e o year or orn all and h ore people he l el hood o an ncrea e n n r e ne able. a n e p an n er e h one o he orn all r b lance r cal are ara ed c ere y r h d co ered r hand ho b y h e o year can be or he cre . o n er e e had o be re ched led d e o l e on and a humbling to think that right at that moment here ere people n de pera e need o help ho ere l c y eno h o ha e he a r a b lance er ce.

he rap d re pon e e del er can a e a a e d erence.

al and

he l e o a r cal are ara ed c or the Cornwall Air Ambulance is full of high pre re cenar o and a on ha any o o ld ne er a ne enco n er n . e re all e per enced n ha e do o e e nece ary o re a n de ached o ha e re able o h n real cally and cl n cally and o e can o er he be re pon e o he pa en ha re red a he e. e re a clo e n ea and e ppor and loo a er each o her he ac e re a all ea ean ha e re a ron ea .

hen d c n he ne l ne be een l e and dea h ha he para ed c enco n er a par o he r role ere y e pha e he c re pon e ha he a r a b lance able o pro de on he phone o yo and be de ha phone he e er ency l ne he red phone . ha r n no he p lo ll e p and ar he a rcra and o r ea o para ed c ll ollo . e e n o he a r hn o o hree n e .

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While working for the Cornwall Air Ambulance, Jeremy has been able to complete a Specialist Paramedic in Critical Care passport and a Critical Care Master’s degree, funded by the charity. “Thanks to the charity we have the opportunity to complete further education and training above and beyond what an NHS paramedic would get. What people don’t realise is that not only does the money that’s raised support the flights, it also supports our education, the provision of the doctors who provide that education, as well as the equipment needed to stay up to date with the latest treatments available.” What becomes evident through our conversation is that the Cornwall Air Ambulance never stands still; it’s always progressing

A B OV E ere y r

both in terms of the technology and the training for team members. “Everything moves forward, and it all revolves around improving the service for our patients. The only way this can continue is through the ongoing support of our community.”

The missions that the Cornwall Air Ambulance undertakes are difficult by nature – hidden coves at the base of cliffs, tors on the middle of Bodmin moor and multiple vehicle crashes on the A30. Their presence in Cornwall is vital and we have nothing but the utmost respect for the team who carry out these missions. cornwallairambulancetrust.org

h

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