Cars Fashion Farming Vintage Dogs Horses Tech Food & Living the life
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LETTER FROM THE DUKE OF RICHMOND
the turning year Winter at Goodwood is a time to make plans for the future. Already we are well advanced with ideas for next year’s big events, but with the summer crowds gone, these are also the months when so much essential work happens on the Estate and farm, from restoring buildings to managing the woodland. As I write, we are also preparing for Christmas, when the House is busy with parties and our chefs at The Kennels and Farmer, Butcher, Chef are serving up wintertime menus filled with our own home-grown organic produce. (On p44, we share some of these dishes with you, paired with Goodwood’s very own beer.) Also on the home front, Cindy Leveson, the designer responsible for the décor of many of Goodwood’s rooms, including Hound Lodge and, most recently, Farmer, Butcher, Chef, explains her approach to country house interior design, and shares some of her decorating ideas for Christmas (p72). Elsewhere in the issue, we look back at the summer’s glorious week of racing at this year’s Qatar Goodwood Festival: photojournalist Jon Nicholson’s pictures capture the sporting and social spirit of a very special five days (p78). We also tell the story of our erstwhile neighbour, Edward James, who last century made West Dean an unlikely cradle of surrealism (p36). James’s foundation led to the creation of the College of Arts and Conservation that operates there today. And finally, with an eye on next year’s 50-year celebrations of the Apollo 11 Moon landing, we asked leading figures from the worlds of science, history, design and art for their recollections of this momentous event (p64). Their answers are illuminating. Best wishes for the coming season and we look forward to welcoming you back to Goodwood very soon.
Duke of Richmond
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UNEE BB, JESSICA VON BREDOW-WERNDL AND THEIR HERMÈS ARPÈGE SADDLE, THREE MAKE A PAIR.
The front cover shows a “church window” feather from the shoulder of a female ringneck pheasant. Cover, Start and Finish photographs by Jake Curtis
Cars Fashion Farming Vintage Dogs Horses Tech Food & Living the life
Professor James R Hansen
is a writer specialising in art, design and culture. She has worked for Harper’s Bazaar, GQ and House & Garden and is the author of several books on design. As well as writing, Cat is restoring an old house in Ireland, so she was the perfect person to interview Goodwood’s interior design doyenne, Cindy Leveson.
is a science writer and author of First Man, the biography of astronaut Neil Armstrong. Hansen’s book inspired the Hollywood movie of the same title – out now, starring Ryan Gosling – which he co-produced. He shares his thoughts on the first Moon landing, which took place 50 years ago next year.
is a photographer who has worked for publications ranging from National Geographic to The Sunday Times. Starting out as a sports photographer, his work has appeared in countless books. Jon’s other great passion is travel and he frequently leaves his Sussex home to photograph people and places across the globe.
is an editor-at-large at Wallpaper* and a regular contributor to the FT and Christie’s Magazine. Emma writes extensively about design, and in this issue she celebrates the work of midcentury textile designer Tibor Reich – and the revival of his iconic design brand by his grandson, Sam.
is a writer and columnist for The Times, The Telegraph and a host of glossy magazines. A former academic, she holds trenchant views on everything from feminism and the future of the novel to lipstick, scents and the return of the vanity case, which she writes about in this issue.
is a London-based photographer who has shot for everyone from craft magazine Hole & Corner to British Vogue. His work ranges from portraits and interiors to the most technically challenging still-life projects, like the pheasant leaf on our cover, and our Start and Finish images.
Editors Gill Morgan James Collard Art director Sara Redhead Project director Sarah Glyde
Sub-editor Damon Syson Design Luke Gould Picture editor Louisa Bryant
In-House Editor for Goodwood Catherine Peel email@example.com
Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Uncommonly Ltd, Thomas House, 84 Eccleston Square, London SW1V 1PX, +44 (0) 20 3948 1506. For enquiries regarding Uncommonly, contact Sarah Glyde: firstname.lastname@example.org
© Copyright 2018 Uncommonly Ltd. All rights reserved. No part of this publication may be reproduced without prior permission from the publisher. While every effort has been made to ensure the accuracy of the information contained in this publication, the publisher cannot accept responsibility for any errors it may contain.
Sound track Meet Callum Ilott, the young racing driver tipped for the top
Mane frame Photographer Uli Weber’s book celebrates a very British obsession: the horse
Vanity fair A once-essential part of a lady’s travelling kit, the vanity case is back
One step at a time Kate Humble explains why walking is the key to our emotional, physical and psychological health
A bit fishy Recalling the unlikely lines of the Daimler Dart
A colourful past Tracing the legacy of Brian Cook, the book illustrator who turned the British countryside day-glo bright
Source material Tibor Reich’s textile designs graced everything from Concorde to the QEII. Now his grandson is bringing the brand back to life
Sleeve notes The novelty cuﬄink’s days are over – it’s time to invest in classic, contemporary pieces
rediscovering the forgotten art of the cyanotype
Kiss and tell From Roman times onwards, mistletoe has had a special place in our hearts
Blue is the colour
Annabel Smith talks us through some great pairings of Farmer, Butcher, Chef dishes and Goodwood ales
Why photographers are
From top: country classics with a contemporary twist (p50); discover how cheese and beer can make a perfect combination (P44)
Keeping it surreal
The beer necessities The craft beer revolution means that wine is no longer the only thing on a restaurant menu. Beer sommelier
Moon memories Next year is the 50th anniversary of the Apollo 11 Moon landings. Five luminaries from the worlds of science, art, history and design share their memories of this momentous event
The story of Goodwood’s erstwhile neighbour, Edward James, the English eccentric who was patron to the leading lights of surrealism 44
The remix Cindy Leveson’s interiors blend grand country house style with a modern touch. Catriona Gray meets her and hears how she does it
Day to night What’s happening on the Estate this New Year, and first news of the unmissable Members’ Meeting
Fashion takes a hike Josh Sims on menswear’s rugged outdoorsy moment
A glorious week We look back to the blazing hot summer days of the Qatar Goodwood Festival, through the lens of photographer Jon Nicholson
New country Tweeds and checks get a reboot this season with blanket coats, capes and the reinvented country suit, all in the softest natural shades
Lap of honour Theo Fennell shares his life lessons, from gazing at Rembrandt paintings to learning silversmithing in Hatton Garden
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The pheasant feather on the front cover of this, the winter edition of Goodwood Magazine, and the gun photographed for our Start and Finish pages, are a reminder that Goodwood is a sporting estate. And so, long before this corner of the Sussex Downs reverberated to the revving of engines and the squeal of breaks – or the roar of Spitfires overhead – the loud report of a gun being fired was one of the sounds of Goodwood, familiar to everyone from the gamekeepers in the grounds to the villagers in nearby Charlton. And so it remains – whether the gun is aimed at pheasants, partridge or clay pigeons – meanwhile, gunmaking remains one of those crafts that Britain still excels at. Witness this shotgun, shown here in “broken” state, ready to load – one of a pair of “Royal Deluxe”, sidelock 20-bores by Holland & Holland.
SHORTS CALLUM ILOTT
sound track Up-and-coming racing driver Callum Ilott explains how he uses music to get into “the zone” before a race
Words by Nadia Balame-Price
Sport and superstition often go hand in hand. Many a winning streak has been cut short because a player has lost his lucky sock or stepped onto the pitch with his left foot rather than his right. Thankfully 20-year-old F3 driver Callum Ilott takes a far more sensible approach to his pre-race preparations. “I try to be focused,” he says, “but not too focused. I know drivers who will only get into the car from one side – or have 45-minute routines. I just try to keep a calm mind and get on with it.” Keeping a calm mind in a sport where earsplitting noise is an intrinsic part of the landscape can be challenging, however, especially in the lead-up to a race, when the mechanics and engineers make the final adjustments to the cars. “They’re constantly running the engines,” says Ilott, “because the cars need to be kept at a certain temperature. It can be quite annoying – so you need to step away.” Finding a quiet moment away from your team, and all the other teams surrounding you, is therefore vital. “I’ve got these big over-ear headphones and earplugs,” Ilott explains, “so I can get that quiet without having to walk 35 minutes outside the circuit.” Ilott, who is sponsored by Sussex-based audio specialists Bowers & Wilkins, is a firm believer in using music to get into “the zone”, that allimportant state of mind that sports psychologists maintain is key to success. “I always listen to music before a race. After that I do some stretching, try to stay relaxed and basically just enjoy it.” Is there one song that really gets him pumped up, something he absolutely has to listen to? “Anything, really. It could be rap, drum & bass, pop. Before a race though, I tend to listen to chilled-out, calm music – stuff like Nevermind by Dennis Lloyd or Oceans Away by Arizona. And I’ll put something on when I’m watching laps, if I need to focus.” That word again. It’s no surprise that when asked whose career he would most like to emulate,
Ilott cites Lewis Hamilton – another driver famed for his ability to block out everything but the chequered flag. Ilott still has a way to go before he reaches those heights, but he clearly has a bright future ahead of him. He’s a member of the Ferrari Driver Academy, which nurtured three current Formula 1 drivers, and despite being only 20, is already something of a motor racing veteran. Now in his third Formula 3 season, he’s been karting since he was seven. “My dad used to go past Rye House Kart Circuit [in Hoddesdon, Hertfordshire] on the train every day,” explains Ilott, who hails from Cambridge. “One day he asked me if I wanted to give it a try.” Pretty soon, he was racing ever y weekend, making his competitive karting debut when he was 12 and going on to become one of the most successful karting drivers of his generation. And his ultimate goal? “Obviously everyone wants to get to Formula One,” he shrugs. “But I just want to be the best I can be in whatever I do. My next aim is Formula 2 – that’s the next step in the chain. But, I’d also like to try a few more categories. The endurance stuff is quite appealing, and I’d like to see what Formula E is like – you know, just experience a bit of everything.” Just for a moment, you’re reminded that Callum Ilott has only just left his teenage years – excited to see how many different cars he can race, how much fun he can have. But the steely focus quickly returns. “Obviously,” he adds, “as long as it doesn’t affect my real goal of competing in Formula 2.” Nothing, it seems, is going to distract him.
F3 driver Callum Ilott: “I just try to keep a calm mind and get on with it”
SHORTS TIBOR REICH
SOURCE MATERIAL Tibor Reich’s colourful fabric designs graced palaces, stately homes and the original Concorde cabin. Emma O’Kelly meets his grandson Sam, who is reviving the midcentury maestro’s textiles brand, Tibor Words by Emma O'Kelly
“When I told people I was setting up a woven textiles brand in the UK, they thought I was bonkers,” says Sam Reich. “There are so few weavers and you need huge capital to develop the yarns.” Reich did, however, have something of a head-start: by his early twenties he had founded and sold a start-up, and his grandfather was midcentury textile maestro Tibor Reich. Wearing a sweatshirt and jeans, 26-year-old Reich junior cuts a considerably less flamboyant figure than his grandfather, a Hungarian Jewish émigré who loved bespoke suits and large cigars. Tibor Reich fled art school in Vienna in 1937 and enrolled at Leeds University to study textile technology. The son of a Budapest textile manufacturer, he had grown up surrounded by swatches, and in 1946, opened his first mill in Stratford-upon-Avon. His colour-soaked designs – referencing the folklore of his native Hungary, the trees and stone walls of his adopted Britain, and the avant-garde brushstrokes of the Bauhaus – brought a fresh vibrancy to post-war interiors, and before long he was creating couture weaves for fashion houses such as Hardy Amies and Molyneux and furnishing fabrics for palaces and stately homes. In 1947, the Queen turned to Tibor, as his company was – and is – named, for a woollen fabric for her curtains.
SHORTS TIBOR REICH
Previous pages: Tibor Reich’s “Madison” blanket design (1957). Above, from top: Reich photographed in Stratfordupon-Avon in 1946; a 1963 Ercol brochure with Tibor fabrics
brought from fashion to furnishing fabrics, and I saw so many starting points.” His plans include collaborating with big-name designers to rework couture designs into furnishing fabrics and curtains, and to release one new collection a year. With 30,000 archived designs at his fingertips, Reich is developing new textured weaves with soft wools from the Falklands, South America and Australia in which to use them. Each year he launches a new tapestry, and last year’s, California, was used by Italian designer Achille Salvagni to reupholster a vintage Gio Ponti sofa. It may be small, but Tibor has as a cult following. Interior designers Peter Marino and Sella Concept are also fans, along with pioneering Milan gallerist Nina Yashar, who upholstered the walls of her gallery Nilufar in Tibor’s bestselling Cymbeline. And at White City House, the latest Soho House in the former BBC Television Centre, barstools are upholstered in Tibor’s Raw Coral. “Tibor loved Italian design, its flair and boldness and fabulous use of colour,” says Reich. In 1956, his grandfather’s screen-printed cotton prints Gondola , Sunburst and Palermo formed part of a “Mediterranean Look” exhibition at Peter Jones department store. It was one of many joyful, cosmopolitan shows he held, his mission being to bring some life to the “fusty, brown, dark and boring” British palette. He was also a keen ceramicist, photographer, painter and furniture designer, who sat at the top table of British modernism, alongside Robin and Lucienne Day, Ernest Race and Lucian Ercolani. Step by step, Sam Reich is leading him back there. tibor.co.uk
“My grandfather was fascinated with architecture – he really appreciated space,” says Reich. “I think to create a successful textile you have to imagine the whole space,” he adds, turning to photos of the interiors of Concorde in the 2016 monograph, Tibor Reich: Art of Colour & Texture. Reich created the airliner’s original interior scheme in 1966, with a purple carpet fading to pink at the rear and seats in either pink, purple, green or orange. He also loved cars, and the 20,000 model cars he and his sons collected are now at Coventry Transport Museum. He may not dress like his grandfather, but Sam Reich shares the same obsession with craftsmanship, tradition and quality. All Tibor fabrics are still made in the UK, in what is a painstaking manufacturing process. Yarns imported from South America and Australia to the Yorkshire mill are re-spun to create bespoke shapes and textures before going to Scotland to be dyed then brought back to Yorkshire to be twisted and finished. They then wind up in the Tibor storage in Keighley. Reich died in 1996, aged 80. His last collection was produced in 1977, and in the decades that followed, his natural fibres and colourful palette were eclipsed by synthetic fibres and muted shades. Despite warnings from his father not to open the Pandora’s box that had been the family business, when he unearthed thousands of sample books gathering dust in a storage space in Leamington Spa, Sam felt compelled to act. “I would look at fabulous swatches of tweeds from the 1930s, and the boucléd and looped fabrics that my grandfather
Uli Weber’s portrait of Amanda, Lady Harlech, fashion muse and “an English girl who just loves her horse”
mane frame A new book by fashion photographer Uli Weber celebrates that most extraordinary of creatures, the horse Words by Gill Morgan
In her introduction to the photographer Uli Weber’s new book, The Allure of the Horse, Kate Reardon – former Tatler editor and herself a keen horsewoman – pays tribute to this quintessentially British love affair, singling out some of the most compelling images along the way. “One favourite is the portrait of Lady Amanda Harlech, in which Uli manages to capture her two identities: a fashion muse of the highest order, and an English girl who just loves her horse,” Reardon writes. And it is this unique connection between horse and rider that Weber, an internationally renowned fashion and portrait photographer, encapsulates so well.
From polo ponies to plough horses, Thoroughbreds at Tattersalls to mounted police, western reining in Devon to the Houseguard Cavalry, the horse, as Olympic horseman William Fox-Pitt says, “is always magnificent in Uli’s work”. Goodwood features prominently in the book, with splendid shots from the 2016 revival of the Charlton Hunt and a witty portrait of the Duke of Richmond, Wootton equine portraits behind him and a rocking-horse by his side. Humour and a sharp eye for people-watching – as well as an aesthetic appreciation of the sheer physical splendour of these animals – runs throughout (another Reardon favourite is an hilarious double-page spread of the Earl of Onslow at full gallop with the Charlton Hunt, cigarette firmly and insouciantly clamped in his mouth). But ultimately, the horse – “The great animal for which I am so grateful,” as Frankie Dettori puts it – is the star.
The Allure of the Horse: A Very British Lifestyle is published by Assouline
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SHORTS DAIMLER DART
A BIT FISHY Words by Peter Hall
TOM WOOD/ALAMY STOCK PHOTO
Ridiculed for its resemblance to a catfish when it was launched in 1959, the Daimler Dart is now considered a quirky classic
What do the Aston Martin DB5, Jaguar E-Type, Jensen FF, Mercedes-Benz C111, Reliant Sabre Six, Triumph Spitfire, Opel GT and Rolls-Royce Silver Cloud have in common? The answer is, all were driven by comic-strip heroine Modesty Blaise. Clearly, she knew a good car when she saw one. So it should come as no surprise that in her early adventures she drove an ivory-coloured Daimler Dart. Aimed at the US market and launched at the 1959 New York Motor Show, the Dart was Daimler’s last hurrah before it was acquired by Jaguar. But in New York some critics declared it the ugliest car on display – a questionable verdict given that Ford was still trying to flog its hideous Edsel and Cadillac’s new Eldorado had grown tail fins that would have looked excessive on a Saturn rocket. Quickly renamed the SP250 when Chrysler claimed ownership of the Dart name, the glass-fibre-bodied roadster boasted advanced features such as four-wheel
disc brakes and a wonderfully flexible 2.5-litre V8 engine that permitted 0-60mph acceleration in 8.9 seconds and a top speed of almost 125mph – although the car was prone to chassis flexing that could pop the doors open when cornering, until an improved B-spec version was introduced in 1961. Fast, well-equipped and comfortable, the SP250 was adopted by police forces in Britain, Australia and New Zealand for high-speed pursuit duties, catching motoring miscreants on fast roads such as Britain’s new M1 motorway, which in those days had no speed limit. You would be lucky to spot an SP250 in your rear-view mirror today, however. Only 2,654 were built in the five years before Jaguar halted production in favour of the more profitable E-Type, and fewer than 1,000 have survived. People still criticise the SP250’s appearance – although you certainly couldn’t call it boring, which is a frequent accusation levelled at many of the current generation of cars. But received wisdom says it looks too much like a catfish, particularly when fitted with protective chrome overriders that resemble whiskers. Yet people are more than happy to forgive the equally eccentric styling of Ford’s “Anglebox” Anglia, launched the same year. You could argue that simpler lines have aged better as car designers have come to understand aerodynamics, although today’s computer-modelled F1 cars present more complicated lines than anything designed in the late-1950s. But tastes change. The SP250 is a fabulous period piece, and with the best examples now worth £50,000, Mam’selle Blaise may well rue the day she ditched her Daimler.
BLUE IS THE COLOUR Contemporary photographers are rediscovering cyanotype, an early photographic technique from the 1840s – and doing something very new with it Words by James Collard
The cyanotype is an early form of photography, discovered by the polymath scientist Sir John Herschel in 1842, and quickly adopted by the pioneering female photographer Anna Atkins, who used the method for her strikingly beautiful “Cyanotype Impressions” of algae and plants, published to great acclaim in the 1840s and ’50s. But then, as other, more sophisticated photographic methods came along, cyanotype was mostly relegated to the workaday but highly useful business of producing multiple
© CHRISTIAN MARCLAY. COURTESY PAULA COOPER GALLERY, NEW YORK; COLLECTION OF THE METROPOLITAN MUSEUM OF ART, NEW YORK
copies of plans and technical drawings. Thus the blueprint, a word that we now apply not just to the document itself, but also any kind of imagined plan or scheme, as in “our blueprint for success”. Technical blueprints can also have their own kind of beauty. But in this, the era of digital photography, an ever-growing number of artists are rediscovering this older craft – and exploring the particular monochromatic beauty of the cyanotype and its possibilities as a fine-art medium. Witness this, a cyanotype by the
Swiss-American artist and composer Christian Marclay, whose work often examines the relationship between sound and visual art. Its subject? The spectacular unravelling of that now obsolete, pre-digital object, the audio cassette.
Christian Marclay Memento (Soul II Soul), 2008, cyanotype on 156lb Cold Press Aquarelle Arches (51½ x 99 inches)
SLEEVE NOTES Novelty cufflinks, from dice to mini rugby balls, have been a regrettable feature of men’s cuffs in recent years. But with discreet, sober designs increasingly coming to the fore, it looks like their days may well be numbered Words by Aleks Cvetkovic
Keep it simple: Bright Cut gold cufflinks from the Alice Made This ‘Sketch’ collection
The cufflink divides opinion. Some men prefer theirs crisp and clean, choosing simple geometric designs in precious metals. Others like to make a statement. In recent years, this has more often than not meant wearing a pair of dice in your shirt cuffs to hint at your devil-may-care attitude to life, or a pair of miniature Boeing 747s to allude to your occupation as a pilot. Amusing though this might sound, the novelty cufflink has had its day, surely. For at their best, cufflinks are timeless, understated – and a subtle demonstration that their owner appreciates good design. Alice Walsh, founder of contemporary British jewellers Alice Made This, explains: “Apart from a few specialist makers, cufflinks used to be treated as an extension to an apparel brand and, from a design and manufacturing perspective, as an afterthought. But in recent seasons, we’ve seen more men embrace our pared-back cufflinks and avoid branded bling. Plain silver or copper design-led cufflinks say something quite different to a whimsical or novelty pair.” Henry Deakin’s family-owned business, Deakin & Francis, has been making cufflinks since 1786. “Minimalist styles are very popular at the moment,” he confirms. “We do make lots of fun, highly engineered cufflinks for men who want to stand out. But our more classic designs will last a lifetime, and effortlessly take their wearer from day to evening, too.” Of course, the return to sober cufflinks doesn’t mean there’s no space to express oneself. Alice Made This’s chic designs are crafted using the same precision tooling techniques found in aeronautical engineering, adding some discreet cool-factor to your cuffs, while Deakin & Francis offers Moving Ladybird cufflinks made with 38 components, which allow the ladybirds’ wings to open and close when you slip your links on. Designs like these are infinitely more sophisticated than mini rugby balls, or skulls and crossbones, and they add a degree of polish to a tailored look. In other words, it’s time to ditch the halfpeeled bananas and invest in something with style.
a colourful past Words by Oliver Bennett With his pioneering use of colour printing techniques, Brian Cook’s illustrations are ripe for rediscovery by a new generation and they are now being reissued for the publisher Batsford’s 175th anniversary
The interwar years are often seen as a time of change; of old rural ways challenged by urban influence and the impending catastrophe of World War II. Perhaps, partly, that’s why the work of illustrator Brian Cook has such emotional resonance. His dust-jackets for Batsford's British town and countryside books, most notably the 1930s Batsford Heritage Series, are now highly collectable and this year, the 175th anniversary of Batsford, they’re being repackaged for a new generation. Cook’s artworks have been reprinted on stationery, postcards and notebooks, and books such as Sussex, Kent and Surrey 1939 by Richard Wyndham, featuring Cook’s cover art, are being reissued. Cook’s career began in less than glorious fashion at Repton School in Derbyshire where the headmaster told him: “Well, Cook, all I can say about you is that, if nothing else, you have at least learnt to paint.” Driven by this damningly faint praise, in 1928 he attended the Central School of Ar ts and Craf ts and became an illustrator specialising in the UK. His debut, in 1932, was The Villages of England. He went on to produce more than 100 dust jackets for Batsford, the family publishing company begun by his greatgrandfather, Bradley Thomas Batsford, in 1843. Cook’s work put Batsford on the map as he mastered using the new medium of the wraparound dust-jacket as a decorative device. From cluttered offices in Holborn in London, Cook created travel posters and illustrations in his heyday and was rewarded with a directorship of Batsford in 1935. Then came WWII and for Cook, the RAF. Immediately after the war he changed his surname to Batsford at his uncle Harry’s request, and became chairman of the publishing firm in 1952. The change was timely. By the 1950s his style had
SHORTS BRIAN COOK
SHORTS BRIAN COOK
JILL KENNINGTON; ALL IMAGES EXTRACTED FROM “BRIAN COOK'S LANDSCAPES OF BRITAIN”, PUBLISHED BY BATSFORD
grown less fashionable, and by 1958 Brian Caldwell Cook Batsford had become a Conservative MP, holding the Ealing South seat until 1974. That same year he was knighted, adding to a host of other honours including chairmanship of the Royal Society of Arts. Although he always had fans, to some critics Cook’s style came to seem overly nostalgic. For example, his works have been called “winsome and sentimental” by design writer Stephen Bayley, citing his imagery of “rolling downs, fluffy clouds and church spires”. As with John Betjeman’s poems, they have an evocative, elegiac mood. But Cook’s illustrations were far more innovative than they might appear now. He pioneered the use of the Jean Berté process, a watercolour printing method that uses soft rubber plates to print inks, similar to Japanese woodblock printing. As Cook recalled, “We decided to make an experiment… The strength or intensity of colour used on the machine could produce a variety of different effects quite unintended in the original drawing.” Hence the dramatic sense of contrast in Cook’s pictures, almost as if he were seeing Britain more intensely. Indeed, the most sensational aspect of Cook’s work remains his colours – his purple hills, yellow fields and emerald churches, all of a brightness and intensity that has seen him cited as a precursor to Pop Art and Andy Warhol. As the architect and artist Hugh Casson noted in his introduction to the 1987 volume, The Britain of Brian Cook , it would be a mistake “to treat them [Cook’s images] merely as curiosities, for at the time they were in the forefront in the arts and techniques of production and presentation and their young designer was a true pioneer.” Ever the hands-on artist, Cook personally badgered the Batsford printers at the South Bank “so that if the result was unsatisfactory, it was my fault and not theirs”. As well as professionally, Cook seems to have been restless geographically. He and his wife Wendy, also an artist, lived all over Britain, settling in Rye, looking over the type of landscape he would once have painted. He died in 1989, in nearby Winchelsea, by which time he would have known that his vivid palette and picturesque subject matter was being appreciated anew.
Sussex, Kent and Surrey 1939 by Richard Wyndham, with cover artwork by Brian Cook, will be published in April by Batsford
Previous pages: Cook’s depiction of Ruardean, Gloucestershire, was used on the cover of English Villages and Hamlets by Humphrey Pakington in 1934 From top: Cook’s first book jacket, depicting Kersey in Suffolk, for The Villages of England by AK Wickham, 1932; Cook’s illustration of The Old Bell, Hurley, Berks, appeared in AE Richardson’s The Old Inns of England, published in 1934; Sir Brian Cook Batsford
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SHORTS VANITY CASE
Once a specialist bag used to transport cosmetics, the vanity case is making its return as the season’s must-have handbag
Vanity fair Words by Hannah Betts
In the 1954 film Sabrina, Audrey Hepburn, a chauffeur’s daughter, comes home unrecognisable in the wake of her Parisian transformation – all cinched Givenchy suit, chic turban, and, bien sûr, vanity case. There was a time when no well-dressed woman would consider travelling without one of these bijou swag-bags, crafted from the best leather she could afford. And these cases are now making a return, albeit as handbags. The French travelling-box (nécessaire de voyage) dates back to the late 14th century. Marie Antoinette escaped Paris in June, 1791, with hers freshly restocked. We Brits lagged behind: it wasn’t until gentlemen started travelling more regularly, at the end of the 18th century, that the English dressing-case was born, with women’s versions following in the early Victorian era. These became known as “vanity boxes”, rapidly evolving from practical travelling luggage into sumptuous status symbols.
There’s something so headily feminine about a vanity case. “Love me, love my slap,” they pout, and never more so than when dangling from the arm of a pencil-skirted siren, sashaying her way down a railway platform, pursued by an ardent suitor. Vanity cases have been strutting their way back into fashionable lives for a while now. Victoria Beckham included one in her Autumn/Winter 2017 collection, promising it would make women feel “secure, feminine, strong, empowered”. Mansur Gavriel’s cult Circle bags appeared in the same season and have been widely emulated: witness Nico Giani’s Tunilla style, Tara Zadeh’s velvet circle numbers, and Gu_de’s mock-croc circle clutches, all at Net-a-Porter. For the purist, Louis Vuitton will build you a vanity case-proper in monogrammed canvas with brass trimmings (enquiries in store). The Gucci x Globe-Trotter GG vanity box (pictured) is a collaboration between the Italian fashion house and the British luggage label, complete with monogram, scarlet lining and bamboo handle. And Chanel’s offering in lambskin, wood and gold-tone metal epitomises the femininity and elegance of a bygone era. Aspinal, meanwhile, has the mother lode – offering both a real-deal, top-handled, mock-croc vanity case as well as fabulous micro and maxi hat-box bags in jet, lilac, gold and emerald – while L.K.Bennett gives us the very best of the high street in the shape of its circular Luna design. And then of course there are vintage sources – I picked up a cherry-red 1950s number from a Berlin antiques shop. Its jauntiness puts a real spring in the step.
SHORTS KATE HUMBLE
one step at a time Kate Humble's new book makes a passionate case for walking to keep us healthy in body - and mind
Words by Gill Morgan
When I speak to Kate Humble, at her home in the beautiful Welsh borders, the first thing we talk about – naturally enough, given the subject matter of her new book – is her walk that morning: “Teg, my sheepdog, has just come home from a month working with some friends of mine who are shepherds, bringing the sheep down off the hills. He’s come back looking like Mo Farah – super-fit and needing a lot of exercise. So we went for a good hour and a half – out of the house, across the neighbour’s fields, up to a high point, quite misty but absolutely beautiful, where you can see right out across the Bristol Channel. A good old heart-puff to the top, then a gradual descent, through the woods. That’s a pretty normal start to the day for me.” To TV viewers who only know Humble as the breezy presenter of Springwatch and a host of other nature programmes, her new book will come as revelation. In Thinking On My Feet, Humble records a year’s worth of walking and the thinking that accompanied it – and it’s a book that’s filled with hard-won wisdom and quiet passion. “For me, walking feels as vital as breathing,” Humble writes. “I find the simple action of putting one foot in front of the other, and the rhythm of that action, incredibly therapeutic.” Humble is a relatively late convert to the power of walking. Growing up in the countryside, her family took their surroundings for granted, so walks were never high on the family agenda. “Then I lived in London for 20 years, and although I walked to get from A to B, I never related it to my sense of well-being. It
was really when we moved to Wales ten years ago, and I found the place where I feel content and happy – and I also needed to take the dogs out (she has 3) – that I became tuned into it. Walking every day makes me feel rooted, connected to a place.” On her morning walk, she makes sure she leaves her phone at home, though if she's trying new routes, she takes an old phone so she can use her trusty Ordnance Survey app. I suggest she is “hefted” to her Welsh hillside – like the local sheep – and she laughs heartily. “Yes! You’re right, I’m hefted! But if you walk in the same place regularly, you really notice things. It’s like spot the difference – the landscape talks to you, sends you messages, like gossip… you’re picking up the next piece of nature’s news. And I find that wonderfully comforting. When you’re in a landscape and it’s so magnificent, I feel both small and insignificant, but also part of the magnificence, and I find that very levelling and calming. We humans can be so narcissistic, but walking puts things into perspective.” The book’s structure is a diary format, which tells the story of a year of walking – some of it in exotic locations around the world, where she happened to be filming, but much of it on her own, very beautiful, doorstep. “I’ve always loved reading diaries – I like the everydayness of them, the way you can mix up the mundane and the exciting,” she explains. “I hadn’t kept a diary before, and I’m not very disciplined about that kind of thing, but once I got into it, I really enjoyed it.” She demonstrates a keen eye not just for natural detail, but for encounters with strangers and friends alike, plus lots of honest self-analysis and some illuminating forays into the scientific research around the benefits of walking on mood and cognitive ability. Humble is passionate on the subject. Or, as she puts it in her self-deprecating way, will “bang on about it forever if given the chance. It’s frustrating because we know that walking is good for us – it’s hardly new knowledge. It’s simple, free, and so many people could benefit, even from 20 minutes at lunchtime.” She tells me the story of a woman who came to one of her book events who had been suffering from depression, then set herself the challenge of walking a mile a day for 100 days to see if it made a difference. “She emailed me recently and it made me want to cry! She wrote it so beautifully. She says she is happier, fitter, that she feels she has a weapon against her depression.” As we finish our conversation, Humble quotes the writer Rebecca Solnit, who has written about the modern requirement for us to be productive all the time: “Emails, answering texts, you’re never allowed to be doing nothing,” says Humble. “So for me, walking allows us ‘doing nothing’ time, without actually being idle. Thinking time, dreaming time. We all need it.”
Thinking On My Feet is published by Aster
“We humans can be so narcissistic, but walking puts things into perspective”
There is a magic about mistletoe. Its potent meanings date back to the ancient Greeks, whose mythological heroes used its powers to gain access to the underworld. In Norse and Scandinavian legend, mistletoe is associated with peace, while in Druidic societies, it was thought to be a protection against evil. Our own lingering love of mistletoe dates from the Middle Ages, when the appearance of its green leaves and white berries in the depths of winter linked it to fertility and vitality – hence kissing under the mistletoe. Traditionally a berry is removed for each kiss claimed. Mistletoe's current scarcity in England only adds to its mystique. People have long been bewitched by the uncanny way it simply appears, rootless, in great tangled balls, high up in trees. This is because it’s a parasite that feeds off its host tree through the bark. Thriving particularly in fruit trees, the decline of English orchards (according to the National Trust, down by 60 per cent from the 1950s), has been a blow to our mistletoe supplies, which in turn has had a negative impact on wildlife – it provides winter sustenance for birds such as the mistle thrush and the blackcap and supports an array of rare moths and bugs. Although the fruit farms and orchards of Worcestershire, Herefordshire and Somerset still provide some of England’s mistletoe for Christmas revelries, much is now imported. No such measures are required, however, at Goodwood, as head forester Darren Norris happily reports: “We have loads of it, hanging in the big lime trees near the stables. It's partly thanks to our resident group of mistle thrushes, who eat the berries and then rub the sticky seeds on to branches, which then forms new clumps. The thrushes are very territorial, so they guard the trees over the winter months in order to protect the berries for themselves.” But there is one snag: "The hard part," says Darren, "is reaching it!"
KISS AND TELL Intriguing and scarce it may be, but there’s plenty of this seasonal decoration to go round at Goodwood
Mistletoe has long been valued for its mystic meanings, but it is in increasingly short supply
Words by Gill Morgan
The extraordinary life of Edward James, polymath laird of West Dean House and artistic champion, is soon to be celebrated in a new library and archive Words by Oliver Bennett
MAN RAY TRUST/ADAGP-DACS/TELIMAGE 2018
Keeping it l a e r r su
Edward James strikes a surrealist pose in this 1937 portrait by Man Ray
In November of this year, a portrait by René Magritte set the Sotheby’s New York saleroom abuzz. Titled The Pleasure Principle and depicting a man with a suit, tie and head alight like a fiery sun, it sold for £20.6 million – £5m more than expected and a record amount for works by Magritte. The 1937 painting is a portrait of Edward James, the Belgian surrealist’s great patron and onetime laird of West Dean House, now part of the College of Arts and Conservation, just over five miles from the Goodwood Estate in the South Downs. That Magritte painted James’s head as a ball of light speaks volumes about this eccentric polymath. Poet, socialite, surrealist, philanthropist and patron, James dabbled and dashed his way through one of the most remarkable lives of the 20th century, sparking ideas and inspiring art wherever he went. “In the last couple of years there’s been a real surge of interest in James,” says Alex Barron, chief executive of West Dean. “It seems the world has finally caught up with him.” As part of this recognition, the college recently unveiled a ten-year plan that includes a new library and archive space about James’s extraordinary life, due to open in 2021. On the approach to West Dean House, nothing immediately tells you that this Gothic-flavoured Edwardian mansion was a crucible of surrealism. Castellated and flint-faced, the house is certainly grand,
persists: in the arboretum he loved, in artefacts in the house and, most importantly, in the college’s creative atmosphere, due to the Edward James Foundation’s eﬀorts to “spread culture through the teaching of crafts and the preservation of knowledge that might otherwise be destroyed or forgotten”, as James himself put it. Born in 1907 in Scotland, one of five children of American heir William Dodge James and Scottish socialite Evelyn Elizabeth Forbes, Edward James seemed, as the author Desmond Guinness once observed, “cut out for a conventional rich upper-class life”. His high-living parents certainly made invitations to West Dean House covetable, throwing glamorous parties that included orchestras and hedonistic forays to nearby beaches. But the single-most celebrated guest was King Edward VII, who frequently stayed at West Dean House, as well as Goodwood House, on his Sussex sojourns. To this day, a rumour persists that the King was James’s real father. “There are two rumours actually,” corrects Barron. “One that he was his father, the second that he was his grandfather; that is, Evelyn’s father.” But he may have been neither, as, unlike his protégé Salvador Dalí, James hasn’t been exhumed for DNA analysis. “For now it remains a wonderful yarn”, says Barron, “and we do know that the King was definitely Edward’s godfather.” When Edward was five, his father died and, as the
and within, there’s a bustling, creative atmosphere, as you’d expect from a place that runs around 700 art and conservation courses a year. But the spirit of James
only son, he began a gilded life that included, at 25, inheriting the West Dean Estate. He followed the timeworn aristocratic path through Eton and Oxford, where
After he bankrolled Salvador Dalí for the whole of 1938, the Catalan painter gave this somewhat backhanded compliment: “Edward is as insanely relentless as myself” 38
he mingled with aesthetes and the crowd that would become the Bright Young Things of the 1920s, living in flamboyant lodgings with Gothic tapestries and a purple ceiling painted with Latin quotations in gold. He drew envy and notoriety by driving a Rolls-Royce around Oxford, while at West Dean he hosted fashionable high society, including Fred Astaire, the Mitford sisters and Cecil Beaton. But James was no mere moneyed braggart. Showing early prowess as a cultural impresario, he published John Betjeman’s first poems. After Oxford, James had a brief and undistinguished career as a trainee diplomat in Rome. He sent a code to London that meant “300” destroyers instead of “three”, lost his post, and reverted to his vocation as poet, before losing heart in that after a negative review by Stephen Spender of his collection, The Bones of My Hands. Never one to be set back for long, by the early 1920s, James saw that the cultural action was with the surrealist movement, and he became a keen supporter: patronising Salvador Dalí and Magritte and sponsoring the surrealist magazine Minotaure. After he bankrolled Dalí for the whole year of 1938, the Catalan painter gave this somewhat backhanded compliment: “Edward is as insanely relentless as myself.” Meanwhile, James’s bisexual personal life was just as colourful, personifying the 20th-century splicing of sexual and artistic experimentation. In 1930, he married Austrian dancer Tilly Losch, a marriage that soon fell apart in a welter of aﬀairs and accusations. More importantly, perhaps, he refurbished Monkton House on the West
© CROWN COPYRIGHT/HISTORIC ENGLAND ARCHIVE
© CROWN COPYRIGHT/HISTORIC ENGLAND ARCHIVE
NORMAN PARKINSON/ICON IMAGES
Opposite: the staircase at Monkton House. Above, from top: photographed by Norman Parkinson, James poses next to René Magritte’s painted bust, The Future of Statues; Monkton House’s entrance
EDWARD XXX XXXXXXX JAMES
‘…a fantastic audio package.’ What Hi-Fi? 40
CLOCKWISE FROM TOP: ELIZABETH WHITING & ASSOCIATES/ALAMY STOCK PHOTO; SASHA HULTON ARCHIVE/GETTY IMAGES; EVERETT COLLECTION/MARY EVANS
Dean Estate, a retreat designed by Sir Edwin Lutyens for James’s parents William and Evelyn to provide refuge from older West Dean House which, like Goodwood, had parts designed by Regency architect James Wyatt. Determined that Monkton should become a showcase for surrealism, James secured the celebrated British decorator Syrie Maugham and put in daring domestic touches such Dalí’s Mae West sofa, in the shape of her lips, and his Lobster Telephone – both of which James Clockwise, from top: Salvador Dalí’s iconic “Lips” sofa; the interior of Monkton House; Edward James with his wife Tilly Losch, on their honeymoon in Hawaii
co-created with Dalí (to Barron’s delight, James now routinely receives co-credit for them). Lovingly and sympathetically restored, Monkton is now privately owned, so we will just have to imagine it in its surrealist heyday, painted purple and green, packed with art and floored with a carpet woven with images of Tilly Losch’s
footprints. Some of the crazier ideas for Monkton, such as Dalí’s suggestion of having animatronic walls that “breathed” in and out, were too much, even for James. To all appearances, James had a perfect life: dabbling in art, awash with money and in tune with the cultural currents of his day. But by 1939, with war looming, he felt anxious and apocalyptic. He wrote to his friend Aldous Huxley that he wanted to start a foundation that would bring forward his idea of a creative community, somewhere art could be harnessed as a civilising force. Following this cri de coeur, when World War II broke out, James went to Los Angeles, with the grandiose, utopian idea of setting up a “Garden of Eden”. But overcrowded California was not to be the beneficiary and James went to Mexico instead, seeking to create an orchid
museum. With a local man called Plutarco Gastélum as his factotum he purchased a huge 80-acre site in the Mexican jungle to house his 29,000-strong orchid collection. In 1962 the poor blooms died in fierce weather: a scenario that proved the mother of invention for the resilient James. Using wooden moulds, poured concrete and a master joiner, he made Las Pozas (The Pools), an extraordinary surrealist-inspired magical environment: a magnificent array of about 40 follies, each with a whimsically poetic name, such as “The House With the Temple of the Ducks” and “The House With a Roof Like a Whale”. It cost nearly £4m, which James paid for by selling some of his surrealist artworks. In Mexico, James seems to have found himself. “Uncle Edward” became a renowned figure locally: travelling around with his 40 dogs, pet boa constrictor and parrots on his arms. With a flowing white beard, he had become the archetypal English eccentric, full of flamboyant idiosyncrasies, such as a need to carry trunk-loads of his favourite Kleenex tissues wherever he went. Returning to the UK in 1964, James gave his English estate to a charitable trust, and by 1971, the foundation he had once talked about with Huxley was finally established. James died in 1984 and the remains of his astonishing art collection, which included works by Hieronymus Bosch, Giorgio de Chirico, Paul Klee, Pablo Picasso and Max Ernst, were sold by Christie’s. By then, his reputation was already undergoing a certain amount of revision, with Orlando Rock, Christie’s UK chairman, describing him as being “touched by genius”. James is buried in the St Roche’s Arboretum at West Dean and the legend on his gravestone simply reads “Poet”. Growing numbers of fans visit his grave each year, says Barron, and seek out Edward James’s echoes in the corridors of West Dean, including his Mae West sofa, Lobster Telephone, and interpretation boards explaining the extraordinary life of this artistic impresario. So, what of James’s reputation? It’s a question that West Dean is addressing in its upcoming visitor attraction.
“There’s no doubt that he dabbled with many creative ideas and was the classic Bohemian,” says Alex Barron. “But Edward James was also very proud of his work, and as well as being a great organiser and finder of talent, we think he was something more: a great artist, perhaps. He was not just an eccentric.” Indeed, James would enjoy the fact that after years as a little-known secret, quietly crumbling in the jungle, Las Lozas is now firmly on the tourist trail. “It’s being reappraised as the largest surrealist sculpture in the world,” says Barron. “I personally think we can credit James with the achievement of bringing surrealism into three dimensions.” But perhaps James’s greatest monument is the thriving West Dean College itself. “He always had a new take on old skills,” says Barron. “For example, I’m sure he would like it that at West Dean we have the only remaining tapestry company in England.” It’s the fruit of his whimsical wartime dream of promoting arts and crafts skills for the benefit of the world – and to preserve knowledge that might otherwise be destroyed or forgotten.
© WEST DEAN COLLEGE OF ARTS AND CONSERVATION; CAMERA PRESS/VINCENT MENTZEL
Right: a vintage postcard of West Dean House. Below: James photographed in 1982 at his Mexican estate of Las Pozas, where he created a surreal sculpture garden that remains a major tourist attraction
THE BEER NECESSITIES Words by James Collard Photography by Laura Edwards
The craft beer revolution has put ale firmly on the menu for foodies. So we asked Goodwood’s beer sommelier to pair the Estate’s brews with some favourite dishes from Farmer, Butcher, Chef
BEER AND FOOD
Farmer, Butcher, Chef’s pork butcher’s board, consisting of loin of pork, crispy belly, sticky baby back ribs, spiced pig tail and white bean stew, goes perfectly with Goodwood’s lively St. Simon Lager (left)
BEER AND FOOD
THERE ARE SOME PAIRINGS OF BEER with food that we’re accustomed to: stout and oysters, lager with curry, a pint with a pie or a sandwich. Most of us, however, are more likely to associate serious food with a glass or two of wine. But increasingly, beer has its advocates: pale-ale partisans are urging us to take the business of pairing beer with food seriously. And the trend for teaming beer with fine dining is global, from Brooklyn’s Luksus, where a beer sommelier (or “cicerone” in American) helps hipsters select the perfect pint to go with their edgy Nordic cuisine, to Alyn Williams at the Westbury in the heart of Mayfair, with its ambitious “beer list” (both are Michelin-starred, by the way). The craft beer revolution has brought about an extraordinary diversity in flavour – let’s call it a beery
new wave – of stouts and ales, IPAs and fruit lambics, all of which call for savouring rather than knocking back, with tasting notes we more readily associate with wine. “It’s about finding the right beer for you,” says beer sommelier Annabel Smith, sounding like the voice of reason in an ale-versus-wine debate, who has been tasked with coming up with the right beers to team with the bucolic flavours of the Farmer, Butcher, Chef restaurant at the Goodwood Hotel, which has both history and currency when it comes to beer. The first tasting notes for beer at Goodwood date back to the 1730s, while today, the Estate’s microbrewery (based at Hepworth & Co, in nearby Pullborough) uses hops and barley from Goodwood Home Farm in its beers – all of which are organic, naturally.
With PORK Broadly speaking, Smith explains, when choosing beer to go with food, you use a similar rule of thumb to when choosing wine. Paler beers and lagers go well with seafood and chicken; but the darker the meat, the darker the beer. A hoppy beer cuts through and complements the fattiness of a rib-eye, for example. Goodwood’s new St. Simon Lager “has a distinctly bread-y flavour”, says Smith, which makes it a perfect beer to enjoy alongside ham and pork. Or rather a little bit of everything porky, from belly to tail, as in the pork “butcher’s board” (actually a blacksmith’s tray) – a sharing dish from Farmer, Butcher, Chef. The beer is named for St. Simon, the Thoroughbred that won the 1883 Goodwood Cup – and then, famously, wouldn’t stop running, long after crossing the finishing line.
With CHEESE Although the idea of having a beer with our Ploughman’s seems perfectly natural, perhaps the sight of a cheese board will have many of us reaching for a glass of red – or for the port. But beer and cheese brings out some of the most specific recommendations from Smith, who would suggest an IPA (Indian Pale Ale) with Goodwood’s cheddar-like Charlton cheese, a glass of lager with the softer, more brie-like Levin Down, and a stout or porter with Molecomb Blue. “Stout is delicious with any blue cheese.” And one beer that would work with the lot? Lucky Leap, Goodwood’s new American-style pale ale which, “citrusy and hoppy”, works well across a cheese board. Also a good partner to Goodwood beef, Lucky Leap is named in honour of the American racer, Masten Gregory, aka “the Kansas City Flash”, who, on realising that his brakes had entirely failed, saved himself by jumping from the cockpit of his Tojeiro-Jaguar before it crashed during the 1959 TT, held at the Goodwood Circuit.
Left: coal-baked new potatoes and a side of spiced pig’s tail. Right: a selection of cheeses from Goodwood (Charlton, Levin Down, Molecomb Blue) with biscuits and a glass of Goodwood’s Lucky Leap pale ale
BEER AND FOOD
Dry rubbed lamb shank, salt-baked carrot and lamb fat dumpling – delicious with a glass of Goodwood’s Grogger pale ale
With LAMB Pairing beer with food can either be about creating the right contrast, or finding something complementary. Goodwood’s Grogger Pale Ale is malty and aromatic and “really rather herby”, says Smith, with a quality that
hops.” Which make it an ideal accompaniment to lamb dishes, such as this lamb shank, cooked overnight at Goodwood, and wonderfully tender. This beer is named after Grogger, a boxer dog belonging to Mike Hawthorn, aka
echoes and accentuates “any of the harder herbs”, such as rosemary. There’s a scientific explanation: “Rosemary is high in terpenes, which gives it its woody aroma – as are
the Farnham Flyer, Britain’s first F1 champion. Grogger was renowned for sipping beer from Hawthorn’s glass, though presumably he didn’t bother to read the tasting notes.
BEER AND FOOD
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NEW The muted greens of wintertime downland and cream and grey flint of the Goodwood Estate make the perfect backdrop for this seasonâ&#x20AC;&#x2122;s blanket coats, capes and soft wool knits in gentle, earthy tones Photographer Brian Daly Stylist Florrie Thomas Art direction Lyndsey Price
Crepe-satin dress with bow-tie neck, ÂŁ1,795, from ROKSANDA, available at matchesfashion.com
Photographer Paul McLean Stylist Florrie Thomas
P.50-51: striped wool-blend cape, £2,680, trousers, £732, jumper, £613, and belt, £242, all by ALBERTA FERRETTI, albertaferretti.com; smooth leather boots with pearl detailing, £1,050, by JIMMY CHOO, jimmychoo.com P.52-53: (left) ‘Moon Blanket’ wool coat, £375, by ROKSANDA, available at Harrods, harrods.com, and matchesfashion.com; (right) fitted wool coat, £1,860, by VICTORIA BECKHAM, victoriabeckham.com; black calfskin ‘Dresden’ boots, £695, by RUPERT SANDERSON, rupertsanderson.com; cotton shirt, £328, by TOGA, available at matchesfashion.com P.54-55: (left) scallop detail check silk-blend cape, £825, by REDVALENTINO, redvalentino.com, available from Selfridges, selfridges.com; blue Oxford blouse, £1,200, by HERMES, hermes.com; camel plaid trousers, £940, by MICHAEL KORS COLLECTION, michaelkors.co.uk; (right) cotton shirt, £328, by TOGA, available at matchesfashion.com; ‘Orchard’ bracelet featuring diamonds set in 18-carat yellow gold, £4,000, and ‘Circus’ ring featuring diamonds set in 18-carat yellow gold, £3,450, by BOODLES, boodles.com; horse-shoe ring, £195, by ALIGHIERI, alighieri.co.uk; gold-plated ring, £75, by MURKANI, murkani.com.au P.56-57: blue Oxford blouse, £1,200, by HERMES, hermes.com; gold-plated bronze and baroque pearl earrings, £420, by ALIGHIERI, alighieri.co.uk P.58-59: Wool jacket, £2,915, and wool trousers, £1,005, both by BOTTEGA VENETA, bottegaveneta.com; gold-plated bronze earrings, £420, by ALIGHIERI, alighieri.co.uk; (right) fringed wool-blend cape, £960, by ISABEL MARANT, isabelmarant.com, available at net-a-porter.com; green roll-neck, £288, JOOSTRICOT, joostricot.com, available at matchesfashion.com P.60-61: (left) ‘Elvira’ coat, £1,500, by EMILIA WICKSTEAD, emiliawickstead.com, ‘Fago’ camel trousers, £405, by MAX MARA, maxmara.com; beige cashmere roll-neck, £1,050, and ‘Bardigiano’ boots with studs, £2,000, both by HERMES, hermes.com; (right) khaki wool double-breasted overcoat with mink cuﬀs, £3,450, by FENDI, fendi.com; ‘Circus’ earrings featuring diamonds set in 18-carat yellow gold, £7,300, by BOODLES, boodles.com
Hair ELVIRE ROUX at CAROL HAYES MANAGEMENT, Make-up SHAMA SAHZAYASIN, Digital Assistant PHILIP WHITE, Lighting Assistant JACK GRANGE, Fashion Assistant SOPHIE CHAPMAN, Model TAMARA LONG at MODELS 1. Shot on location at the Goodwood Estate
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Uncertain times call for rugged, practical, even “apocalypse-ready” clothing – which is why menswear has gone all outdoorsy and adventurous, explains Josh Sims
s e k ah a t ik n o
Lo Ce ta Wa ya Jun
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THE BOOTS ARE STOUT AND HARDY. The backpacks techy. There are utility belts and nylon jackets. Coats come with plenty of pockets and oﬀer the protectiveness of a parka, or are padded and wind-proof. There’s the occasional reflective stripe, neon detail or touch of camouflage. In other words, these are clothes that kit you out for a serious yomp across the South Downs, or an attempt on Ben Nevis. But realistically, they will never be worn for such adventures. The most punishment their wearers are likely to face is a minute or two in light drizzle before hailing a taxi on Bond Street. Because these clothes are not from Patagonia or Canada Goose or North Face. Rather, the backpacks are by Versace and Tod’s, the belts and nylon are from Prada, and the field jackets are by Louis Vuitton or Cerruti. Junya Watanabe and Maison Margiela are also in on the act. Perhaps the sturdy hiking boots by Emporio Armani are a giveaway. After all, they’re in patent leather. From George Mallory to Bear Grylls, no adventurer has yet felt the need for their footwear to be quite so shiny. It just attracts the bears. Menswear for this autumn/winter has gone all outdoorsy – a blend of hiker and explorer, with a touch of life in the ranks thrown in. It’s utilitarian and it’s functional. It is, as one commentator from GQ put it, “apocalypse ready”, which might not be so far from the truth. After all, these are uncertain times, and fashion always responds to a dark cultural backdrop either by doubling down on flights of fancy or by sobering up. “Look at a lot of the fashion brands now and, yes, they’re about taking very practical clothes and deconstructing them.
It works well by adding colour or playing with the scale and silhouette of otherwise wearable, useful clothing,” suggests Douglas Gunn, co-founder of The Vintage Showroom, an archive of outdoor, work and military garments that rents pieces to designers looking for inspiration. “But menswear’s shift to more outdoorsy clothing has been happening in the background for a long time.” The catwalk explorers of the new season support this, with brands such as Engineered Garments, Nigel Cabourn, Arpenteur, orSlow and Private White VC ushering in a grownup style of action dressing for men. They’re using hardwearing traditional fabrics such as denim, herringbone twill and moleskin, and technical fabrics inspired by militaria. The movement has allowed a number of heritage-minded clothing-makers to undergo a relaunch, from French workwear company Danton to German undergarment specialists Merz b. Schwanen. If younger men have been happy in skinny jeans and sneakers, then older men have been dressing as though they could, if pushed, dig a ditch. “If you’re going to dress like that, you really need to know how to handle a chainsaw. That’s why that utilitarian look can be pretty sexy, because it suggests capability,” says Nick Ashley, creative director of Private White VC. “It’s what Patagonia made in the 1980s, which inspired me to get into clothing design in the first place, not so much because of the clothes, but the lifestyle you lived in the clothes – that idea of being on top of El Capitan, that readiness for anything.” With so many of us working in jobs that are sedentary and screen-based, perhaps we’ve been lacking a heathy dose of machismo. “Being indoors all the time, we’re romancing the idea of getting out in nature again,” suggests Gunn. “It’s much like what Abercrombie & Fitch did before, in selling that hunting, shooting, fishing aesthetic, even if you wouldn’t have a clue about doing any of those things.” Nick Ashley takes it further. He sees the demand for practical clothing as being part of a movement that is not very “fashion” at all: rather, it’s part of a millennial, anti-marketing, post-consumer desire for objects that are properly made, that have longevity and oﬀer better value, so are more sustainable too. It’s to wear a kind of clothing that’s democratic and classless, even in Britain. Of course, this is a deeply ironic sensibility for the fashion industry to indulge in – based on, as much as it is, disposability, obsolescence, change for change’s sake and anything but democracy. So don’t expect the big designer brands to still be recommending a style for the great outdoors this coming winter. Not that this will bother you. By then you’ll be trekking back from Everest base camp. Or, more likely, sitting, latte in hand, with The Revenant playing on DVD, and just dreaming of doing so, your rucksack and technical jacket crisp and dry on the coat stand.
Mankind has been fascinated by the Moon for millennia. We’ve worshipped it, planted crops according to its cycles and written poems about it. But until July 1969, no one had ever set foot upon that eerie, silvery landscape. It was, as Neil Armstrong memorably put it: “One small step for a man, a giant leap for mankind.” Looking ahead to next year’s anniversary, we asked five luminaries from the worlds of science, academia, art and design to recall their impressions of that epochal moment
OPENING PAGES: NASA/JPL/USGS. LEFT: NASA
Lord Martin Rees, Astronomer Royal and Fellow of Trinity College, Cambridge Among my favourite things to read during my childhood in the 1950s was a comic called The Eagle, especially the adventures of Dan Dare – Pilot of the Future, where the brilliant artwork depicted orbiting cities, jet-packs and alien invaders. When spaceflight became real, the suits worn by NASA astronauts (and their Soviet cosmonaut counterparts) were therefore familiar, as were the routines of launching, docking, and so forth. My generation avidly followed the succession of heroic pioneering exploits: Yuri Gagarin’s first orbital flight, Alexey Leonov’s first space walk, and then, of course, the lunar landings. I recall a visit to my home town by John Glenn, the first American to go into orbit. He was asked what he was thinking while in the rocket’s nose cone, awaiting
later became a US senator, and, later still, the oldest astronaut when, aged 77, he became part of the STS-95 Space Shuttle crew.) Only 12 years elapsed between the flight of the Soviet Sputnik 1 – the first artificial object to go into orbit – and the historic “one small step” on the lunar surface in 1969. I never look at the Moon without being reminded of Neil Armstrong and Buzz Aldrin. Their exploits seem even more heroic in retrospect, when we realise how they depended on primitive computing and untested equipment. Indeed, President Nixon’s speechwriter William Safire had drafted a speech to be given if the astronauts had crash-landed on the Moon or were stranded there: “Fate has ordained that the men who went to the Moon to explore in peace will stay on the Moon to rest in peace. [They] know that there is no hope for their recovery. But they also know that there is hope for mankind in their sacrifice.” The Apollo programme remains, half a century later, the high point of human ventures into space.
launch. He responded, “I was thinking that there were 20,000 parts in this rocket, and each was made by the lowest bidder.” (Glenn
Reprinted with kind permission of Martin Rees from On the Future: Prospects for Humanity, published by Princeton University Press
I never look at the Moon without being reminded of Armstrong and Aldrin. Their exploits seem even more heroic knowing how they depended on primitive computing and untested equipment Above: Buzz Aldrin walks on the Moon. Neil Armstrong, who took the photo, can be seen reflected in his helmet. Overleaf: a close-up view of an astronaut’s bootprint on the lunar surface
When I think back to my boyhood and space, one of my earliest memories is the weekend that Sputnik launched. I would have been only five years old, but I remember visiting my aunt and uncle and my cousins. It was a weekend and all the adults were watching television. I sensed there was something that was making them nervous. They were watching the TV, then going out looking up at the sky, and saying, “It’s high.” This was an era when children spent a lot of time outdoors, unlike today, when they are in front of screens and their handheld devices. The night sky was something I was used to looking up at and of course in the 1950s and ’60s there was a lot of interest in UFOs. The night sky was a mysterious thing, and that Sputnik weekend it become even more mysterious to a five-year-old. Then the United States put up an inflatable satellite known as the Echo balloon. It was an inflatable satellite and you could watch it in the night sky, even see it move. I remember being at one of my older brother’s night baseball games and people in the crowd looking up and following the movement of the Echo. This would have been around 1960 or ’61. I do know, again, that as a boy I didn’t really know what was going on but it made me a little nervous – everyone looking at the night sky, UFOs, talk about Russians and nuclear weapons. It set the stage for an interest in what was to come. I was a second-grader when Alan Shepard made the first US space flight – it was during school hours and everybody went down to the gym, sat on the floor and watched on this big boxy television set in black and white. Same with the third flight, which was the John Glenn orbital flight in early 1962. Then I remember the Apollo 8 circumlunar flight
I remember the night of the landing, 20 July, 1969. My family and I watched the moonwalk into late evening. Of course, there was no DVR or VCR back then. All you could do was take a photo of the TV screen – so that’s what we did
in December ’68 really well. It was Christmas Eve and they were reading from the Book of Genesis. It was so memorable. I remember lying on the floor in front of the TV set. Everybody in my family was paying a lot of attention to it. With Apollo 11, although I’m sure I saw the launch on 16 July, 1969, I don’t remember it very well – but I do remember the night of the landing, which was 20 July, 1969. My family and I all watched the moonwalk into late evening. Of course, there was no DVR or VCR back then. All you could do was take a photograph of the TV screen – so that’s what we did. We had a Polaroid. I must have taken about half a dozen pictures of Armstrong and Aldrin on the lunar surface. I still have them in a shoebox somewhere, I should dig them out. I think I did feel proud as an American. You have to think about the times. I was 17 years old, and the late 1960s were a turbulent time. My brother had been drafted into the military and the draft was ahead of me as well. I was against the Vietnam War. We had gone though such a terrible year in ’68 with the assassinations of Robert Kennedy and Martin Luther King Jr, and there was the civil rights movement and student protests. There was a lot of ambivalence about the Moon landing, feelings that maybe these resources would be better invested trying to solve other problems here on Earth. But Apollo 11 gave everyone a respite from those concerns. It was a time when you could set aside that ambivalence for a short period of time and enjoy the experience. You knew it was incredible, the human species stepping oﬀ its planet and going to another world for the first time. It was hard not to get caught up in that. I bet a lot of Americans think they remember the planting of the flag, but they might be remembering the pictures. I know as a historian that the planting of the flag was much more problematic than people remember. It took over 10 minutes. They couldn’t get the staﬀ in the ground because the surface was harder than they imagined it
we can’t get this flag to work.” Even when they were done, it leaned over a bit. After Apollo 11, like most Americans, I kind of lost interest. Working with Armstrong on the book [Hansen wrote First Man, the oﬃcial biography of Neil Armstrong, on which the Hollywood movie is based], the great thing was that I had so much time to talk with him before we even got to talking about Apollo. I ended up with 55 hours of taped interviews. Most people have had so little time, they jump straight in with the Moon landings. In some ways it was the last thing Neil wanted to talk about because it’s all anyone had ever asked him about. I was able to talk to him about his entire career and life before he even became an astronaut. Once I got to asking him about Apollo, I had laid out all my questions because I wanted the exact engineering details. So I think in the end I did recreate the mission, and Neil’s part in it, in meticulous detail. In terms of how people feel now about the Moon landings, I think it’s fascinating because we haven’t done it for 50 years, and people wonder, ‘“Well, how the heck did we do it back then with the technologies that existed when now we have much more, much greater, technologies – but we haven’t gone back?” It took a very unique set of circumstances to come together to get the country to commit to a lunar landing back in the 1960s. In terms of how it’s viewed, a lot will depend on where we go from here. If we don’t go to the Moon or we don’t get to Mars within the next 500 years, Apollo will become even more amazing – an anomaly in history, similar to the way the Chinese, back in the 15th century, sent armadas of ships all the way to Africa and then just stopped doing it and didn’t do it again. But I doubt that’s going to be the case. In a sense we’ve been living with a certain meta-narrative of the Apollo programme and it has controlled the storytelling, but I think there’s a lot there to be questioned or re-examined. What I like about the movie is that it’s telling the story in a new, unexpected
would be. Buzz and Neil had a terrible time. Buzz later said that he thought, “Boy, this is going to turn into a public relations disaster if
way. If people want it to be a very upbeat, triumphant, American hero kind of story, well, it’s not that. It’s not meant to be.
James R Hansen, writer, historian and author of First Man, the book on which the recent film about Neil Armstrong was based
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I was in Ireland on the day of the Moon landing, in a place called Roscommon, visiting my mother’s side of the family. We used to go every year, and they didn’t have a TV. But I remember listening to it on the radio in the evening and being very excited – because that day we’d been playing in haystacks and so on, and there couldn’t be a more complete juxtaposition than playing in haystacks and landing on the Moon. I was 13 at the time, and I didn’t really understand the science behind what had been achieved. But I think it reinforced the views I was developing – growing up in the 1960s around all this modernist architecture in Coventry, with the Cathedral, of course, and I remember the swimming baths – about the idea of futuring [envisaging the future]. I used to love watching Lost In Space, and back then, it felt like space was the future. We probably believed that in 50 years’ time we would all be living on the Moon. It started getting me interested in looking at a lot of parallels in design – like George Nelson using atoms on his famous wall-clock. Or the 1959 Cadillac Eldorado, with those soaring tailfins, just like a rocket. Looking at it now, the lunar module seems quite primitive, almost Heath Robinson. It doesn’t look technically stable, or at all like our science-fiction idea of what a spacecraft should look like. I love the work of Roger Dean, who used to do these fantastic illustrations of spaceships, which were pretty cool. And also Syd Mead [the industrial designer and futuristic artist, who worked on Blade Runner, Aliens and Star Trek: The Motion Picture], who did a lot of futuring – making beautiful illustrations of future worlds, future living, which ultimately inspired a whole generation of automotive designers… including me.
Heather Couper, Professor of Astronomy at Gresham College, writer and broadcaster At the time of the Moon landings, I was 20 and working at Top Shop in London. I’d been fascinated by astronomy as a child: my father worked as an airline pilot and I used to stay up at night and watch planes through my bedroom window over Heathrow at night. One night when I was about eight, I saw what I thought was a green shooting star in the sky. I rushed into my parents’ bedroom to tell them and they just said, “That’s nice dear, but there’s no such thing.” The next morning the
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newspaper had a small item with the headline “Green Shooting Star” and I vowed that I was going to be an astronomer. But as the years went by and I became a teenager, I got into music and clothes and decided to go into fashion. So I joined Top Shop as a management trainee. Gradually, though, my first love of astronomy was returning. I’d joined a local amateur astronomical society and would often go out after midnight to see shooting stars, then get up early for work the next morning. At the time of the 1969 Moon landings I was living in a bungalow in Ruislip. I had a little black-and-white TV in my bedroom and I stayed up until 3am to watch it live. It was an extraordinary moment. Not long after, I was promoted at work
University to study astrophysics, and on to Oxford University. I ended up lecturing at Greenwich Planetarium, then going freelance and I’ve spent my career writing and broadcasting on space and science. Now, of course, the focus of exploration is more on Mars – I think we will definitely see a successful mission there within our lifetime, but it will be a very dangerous journey. Getting to the Moon is relatively easy – three days – but to get to Mars will take nine months. And there will be meteoroids and radiation to deal with. Would I go to the Moon? No! My colleague and co-author Nigel Henbest has signed up to be a Virgin astronaut and done his centrifuge training. Not me. I’m hopeless – I can’t even get on a rollercoaster.
and I went to the library to get a business management book. I suddenly thought, “I’m just not that interested in any of this,” and walked over to the other side of the library to look at the astronomy books I’d loved as a child. I hadn’t read one for about eight years and I couldn’t believe how much had changed. There had been huge discoveries
I didn’t have a television in 1969 so I didn’t watch the Moon landings. But I have been a Moon-watcher all my life. I’m fascinated by its waxings and wanings
like quasars and pulsars. And whereas everyone involved in space had been old men
and by the unimaginable fact that it controls the rise and fall of tides. What I remember
with great grey beards, now there were sexy young men in jeans! I never looked back. Later that year I joined Cambridge Observatory as a research assistant, then went to Leicester
most vividly are the amazing colour stills taken on the way back and how beautiful our earth looked from the Moon, with its multicoloured band – the ozone layer.
Bridget Riley, artist
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Words by Catriona Gray
Interior designer Cindy Leveson is the creator of many of Goodwoodâ&#x20AC;&#x2122;s sumptuous interiors. Catriona Gray talks to her about combining antique and modern touches, the enduring appeal of country house style and how to sprinkle a little Christmas magic on your home 73
For over 20 years, the decorator Cindy Leveson has been adding her elegant imprint to Goodwood’s array of fine buildings and rooms. From major restoration projects, such as the transformation of Hound Lodge, to regular refreshes of some of the grandest rooms in the main house, Leveson’s trademark is to create comfortable, liveable spaces that celebrate the past yet feel airy and modern. Leveson is a doyenne of the contemporary country house style, creating traditional interiors that are suited to 21st-century tastes and eﬀortlessly balance old with new. Her commissions have ranged from rustic hunting lodges, their ceilings hung with hundreds of antlers, to smart townhouses where exquisite pieces of 18th- and 19th-century mahogany furniture sit happily alongside contemporary pieces and lighting. She has an instinctive eye for good furniture, learnt from her mother, who dealt in antiques. Leveson spent much of her childhood visiting dealers and fairs, which left her with an innate ability to discern the real from the fake. Her career began as a stylist in the 1980s, working with a noted photographer called Charles Settrington, who specialised in shooting stilllife images for advertising campaigns. That same Charles Settrington, of course, later became the Earl of March, and is now the Duke of Richmond. “It was the best grounding for becoming a decorator,” she says. “If you can survive being a stylist, you can pretty much survive anything, as your thinking has to be so lateral.” Their projects were certainly varied, and she built sets that ranged from Victorian-style drawing rooms to bold visions of the future. One campaign, for Osborne & Little, saw Leveson recreate a river in the studio, complete with a boat. The oars were borrowed from Eton’s First Eight, at the Duke of Richmond’s suggestion, and wrapped in wallpaper for the shoot. When the Duke moved into a new property, he persuaded Leveson to decorate it. “I’d never worked on a house before, but I eventually agreed,” she says. Other commissions followed, which led to her transition to becoming a full-time interior decorator. “In the beginning, I didn’t know I had a particular style, but as the years went on it became clear I had a leaning towards England and the country look. Chintz has never gone out of fashion for me, nor has brown furniture. In every job, I’ve persuaded my clients – even the most modernist ones – to include something old somewhere. A room needs to be grounded, it needs a bit of history, whether it’s a piece of furniture or an ancient cushion.” Today, her work is varied, with projects in both London and the country, although she does return regularly to Goodwood for ongoing work, most recently on some of the private bedrooms in the house, which she had initially redecorated when the Duke and his family first moved in. Her traditional aesthetic means there’s less chance of the schemes dating, especially since she often works with antiques inherited by her clients, and any updates tend to be minor tweaks or refreshing rather than radical overhauls. “The country house interior has endured as an aesthetic because it works,” she says. “It’s comfortable and always looks good, as long as you don’t overdo it. You need to have a light touch.” Leveson’s work can be seen to its best eﬀect on the Estate, as she has overseen the decoration of virtually all the commercial spaces, including Hound Lodge, Farmer, Butcher, Chef, The Farmer’s Bar, The Goodwood Hotel and The Kennels. For all of these projects, she has emphasised the history of the space, to immerse visitors in a sense of place, yet the atmosphere in each of the buildings is subtly diﬀerent.
Opening pages: The Snug at the Goodwood Hotel. This page, from top: Cindy Leveson, and some of her sketches and design details
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Cindy Leveson’s Christmas decorating tips
“We wanted Hound Lodge to feel like a private house but one that you could rent,” she says. Formerly used as kennels for the Goodwood Hunt, it was completely transformed for its opening in 2016. The kennels were turned into bedrooms, while two new wings were added to create a large drawing room and dining room. Aside from 20 paintings and half a dozen pieces of furniture, Leveson had to source every single item, right down to the china and glass. Everything has a local element: the mattresses are stuﬀed with wool from the Goodwood sheep and the communal areas contain an impressive library of books – gradually amassed by Leveson – all of which are about the Richmond family, Sussex, hunting, dogs and country life. “Collections help to create an atmosphere,” she says. “It could be a particular artist or certain objects, whatever appeals to you. A thoughtful display always makes a space look interesting.” At the Estate’s restaurant, Farmer, Butcher, Chef, she has accumulated what is perhaps her most impressive collection yet, a huge assortment of items that line the walls, referencing the restaurant’s heritage and ethos. There are clusters of vintage English kitchenalia; fragments of shellwork and neoclassical cornicing; farming equipment, ranging from brightly painted spanners to rusty farming tools, and a wonderful miscellany of treasures, such as pressed flowers and iron keys, all carefully curated to create a museum-worthy display that will hold your interest from first course all the way through to pudding. Her next major project on the Estate will be the redesign of the hotel. At Christmas, Leveson also has a hand in Goodwood’s festive appearance. She has created decorations for The Kennels, Hound Lodge and Farmer’s Bar, which have become the template for Goodwood to copy for the years to come. She loves festooning the Estate’s fireplaces with greenery and decorating the tables with seasonal berries and foliage. Warm, cosy and welcoming, the many spaces at Goodwood are particularly compelling during the depths of winter, where there’s always a roaring log fire and a comfortable chair to sink into. It’s the secret to Leveson’s success – the ability to create interiors that are so inviting, you never want to leave.
Think about creating focal points: the key areas are the tree, the staircase, and the fireplace. For me, I always make a point of dressing the fireplace – it looks so welcoming and festive. It’s best to use real foliage – make sure to buy spruce, as the needles won’t drop and make a mess. You can order spruce swags in the length you need from your local florist, then add extra branches yourself to make it appear really sumptuous. Of course, you can buy imitation garlands, but the real ones look better and make the entire house smell wonderful. I twine lots of fake berries into the foliage along with ribbons and decorations – they’re a one-off investment as they can be reused every year. I love wrapping Christmas presents, and they can make quite a statement when they’re heaped up en masse. I only use one type of wrapping paper and one kind of ribbon in two widths, depending on the size of the gift. Each year, I do something different: leopard-print paper with black ribbon; glossy red paper with shocking pink bows; or black and white stripes to create a monochrome effect. They look so wonderful that it can be very disappointing when the time comes to give them away.
From top: the dining room of Farmer, Butcher, Chef, with its collections of old plasterwork, butterflies and vintage ephemera; Leveson’s sketch for Christmas fireplace decorations
In terms of the Christmas tree, I’m quite averse to “done” schemes. I prefer an assortment of decorations that have meaning to you and your family, and which have been gradually accumulated over time. I always encourage my clients to start collecting, and if they have children, to keep any homemade decorations from school. It may not look very sophisticated but the sentimental value is so much more important. It’s what Christmas is all about.
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A glorious week
Words by Jonathan Gibbs
This summer, photographer Jon Nicholson spent five sun-drenched days recording the very particular English mix of sporting thrills and high-summer garden party that is the Qatar Goodwood Festival. “I never cease to be amazed by the power and beauty of top racehorses,” he says, “and this is a great event: people, horses, views – it has it all.” Nicholson talks us through his arresting black-and-white images, which capture not just the beauty of the Sussex landscape and the elegance of the horses, but also the good humour and conviviality of the crowd. Glorious indeed
Hang on to your hats: a stylish racegoer strides across pre-parade ring 2
Sisters in arms: camaraderie among the Magnolia Cup riders on Ladiesâ&#x20AC;&#x2122; Day
”I like the mirrored circles of hat and brolly in this picture. And the fact that, although this lady is in a very exclusive picnic area, behind her is the legendary Trundle, where people can get a fantastic view of the whole course” JON NICHOLSON
Above: undercover - hat and parasol in perfect harmony. Left: odds-on – Frankie Dettori prepares for his race
. Baden-Baden . Paris . Vence – Côte d’Azur St Barths . Cap d’Antibes . Antigua – West Indies . London . São Paulo Courchevel
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Ladies’ Day: racegoers strut their stuff
”I love people-watching and this year was great for that - everyone seemed in a very good mood. I love the stance of the woman in the foreground of this image; she looks so cool, so beautiful and so powerful, with the ladies either side of her staring up in awe” JN
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Official fuel consumption figures in UK mpg (L/100km) for the McLaren Super Series 4.0L (3,994cc) petrol, 7-speed Seamless Shift Dual Clutch Gearbox (SSG): urban 16.9 (16.7), extra urban 35.8 (7.9), combined 25.7 (11). Official combined CO2 emissions: 249g/km. The efficiency figures quoted are derived from official NEDC test results, are provided for comparability purposes only, and might not reflect actual driving experience.
”If you look at old pictures of Goodwood, there are always people on Trundle Hill; it’s a tradition. This was such an English scene: a very chatty group, sipping wine in their picnic chairs, thoroughly enjoying themselves” JN
The view from up here: enjoying the races, and the fizz, on the Trundle
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INTEREST RATE (FIXED)
*INCLUDED IN FINAL PAYMENT Official fuel consumption for the Lotus Elise 220 Sport in mpg(litres/100km): Urban 28.3 (10.0); Extra Urban 45.6 (6.2); Combined 37.2 (7.6). CO2 emission for the vehicle are: 173g/km. The fuel consumption you achieve in real life conditions and CO2 produced will depend upon a number of factors including variations in weather, driving styles and vehicle load. There is a new test used to establish fuel consumption and CO2 figures to deliver results that are more representative of real life driving. However, the figures shown were achieved using the outgoing test procedure for a transition period ending 31/12/2018.
Credit is subject to status and is only available to UK residents aged 18 and over. Credit provided by Black Horse Ltd. St. William House, Cardiff, CF10 5BH. Offer ends 31/12/2018.
The Kennels is the perfect venue for everything from an intimate dinner to a large family gettogether, or for special landmark celebrations such as a birthday, anniversary – or New Year’s Eve. Head chef Adam Steer has revamped the menu with a return to authentic British Club Classics offering a range of simple but beautifully executed dishes that showcase home-grown produce from Goodwood’s Home Farm, along with other local and seasonal ingredients. The Kennels (pictured, right) features all the cherished hallmarks of a private members’ club without any of the associated stuffiness. It’s the perfect place to come and relax and to enjoy anything from a cup of coffee to a light lunch, early evening cocktails or a delicious four-course meal. Join us to see in the New Year, or come along to one of our talks or parties in January. There is the opportunity to attend many different events throughout the year and details can be found on the website. www.goodwood.com/estate/the-kennels/
events-calendar/ To book or to find out more, please call The Kennels on 01243 755132
December 31 2018
Celebrate New Year at The Kennels
Usher in the New Year at The Kennels with a DJ-hosted party followed by spectacular fireworks
NEW YEAR'S EVE Celebrate the New Year in style at The Kennels. 7pm: Black Tie Dinner Ticket Begin your evening with a welcome drink and canapés while enjoying a live piano accompaniment, followed by a delicious four-course dinner, followed by petits fours. 8.30pm: Lounge Ticket Gather friends and family together for a relaxed welcome drink in the Lounge Bar and an evening of entertainment courtesy of our fantastic live band. Everyone will come together for a DJ-hosted party with the best tunes to keep you dancing through the night. As the clock strikes 12, raise a glass of champagne and watch the dazzling fireworks display over Goodwood House; the perfect way to welcome in the New Year. 2am: Carriages
Dinner tickets £150 per person, or £190 per person to include wine with each course Lounge tickets £50 per person All tickets include a welcome drink and champagne toast at midnight
Members' Meeting combines actionpacked races with fun festivities and fabulous entertainment
Members’ Meeting next year takes place over the slightly later dates of April 6 and 7, and we are already looking forward to a weekend of thrilling action on the track. The programme will feature an enthralling mix of new fixtures and returning favourites such as the hugely popular S.F. Edge Trophy, which will once again form part of the race schedule at our season-opening weekend. Running at both the 74th and 75th Members’ Meetings, the S.F. Edge Trophy took a year out in 2018 but is back by popular demand for the 77th edition, following a brace of enthralling encounters in 2016 and ’17. There will be a Le Mans Prototype demonstration, running into dusk on the Saturday evening, evoking the sights of the evening at La Sarthe, as the Lavant Straight turns into the Mulsanne. A host of drivers from the LMP era will be back behind the wheel, including those who have had the honour of standing on the top step at the twice-round-the-clock race. Expect to hear a large range of engine notes, with V8, V10, diesel and hybrid engines all forming a major part of the LMP story. Members’ Meeting is only for those who are part of the GRRC and, as such, there is just as much emphasis on socialising as on racing; once the chequered flags falls on the final race of Saturday, the sound of engines is replaced by that of live music as the evening festivities begin. This year the party will be called Electric Avenue and will involve amazing light-shows with a carnival atmosphere and live performers. It will commence slightly later than before, after the track action has concluded. Members can enjoy dinner while live performances begin. Later, the spectacular fireworks display will wow members of all ages. The 77th Goodwood Members’ Meeting takes place on April 6–7, 2019. For information, visit www.goodwood.com/ membersmeeting or call us on 02143 755055
April 6 – 7 2019
77th Members’ Meeting: historic season opener
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The game scene on this gun (by engraver Philip Coggan) shows partridge enjoying a pastoral moment, away from the guns. But one can judge just how much some of the current Duke’s ancestors enjoyed shooting at such birds from paintings such as Stubbs’ Shooting at Goodwood, featuring the 3rd Duke of Richmond’s brother-in-law, Henry Fox, and his cousin, the Earl of Albemarle. During their Edwardian heyday, an invitation to shoot on the family’s Scottish estates was highly coveted. But one of the most poignant objects from that era in the family records is Lord Settrington’s Game Book. It records the game bagged by the then Lord Settrington, grandson of the 7th Duke of Richmond, but comes to a sudden end in 1919, when he died fighting in the British intervention in Russia – a reminder that away from Goodwood, gunshots aren’t always a matter of sport. 94
LAP OF HONOUR
Theo Fennell is a jewellery designer and silversmith. After Eton, he went to art schools in York and London before apprenticing at a silversmiths in Hatton Garden. A member of the Worshipful Company of Goldsmiths, Fennell is a regular visitor to Goodwood and has made trophies for the Monaco and Italian F1 Grands Prix
Theo Fennell MY TOP THREE RULES FOR LIFE ARE: one, your family and friends are the most important things. Two, stay interested in as many things as possible for as long as possible. And three, work hard – and laugh a lot. FROM THE AGE OF FIVE I used to travel from boarding school in England back to the Far East where we lived. The contrast was extraordinary. Grey England and a very bright Malaysia or India or Pakistan… The East was a completely diﬀerent world back then. The noise, the light, the smells... I’ve found it very inspiring. GOING TO ART SCHOOL taught me plenty, including that I was an incredibly bad portrait painter. But it also taught me that I wanted a creative life. I was electrified by what was going on in the early 1970s in music, art, painting. It made you sense all kinds of possibilities. MY FATHER WAS A CAREER SOLDIER, but he was very supportive when I went to art school.
He told me, “The Army isn’t what it once was, so go and do whatever you want.” AFTER ART SCHOOL, I answered an advertisement my great-aunt gave me for Barnard’s, a silversmiths in Hatton Garden that was looking for somebody who could draw. I went along and they oﬀered me the job – to my absolute amazement. BARNARD’S WAS VERY DICKENSIAN and oldfashioned. To begin with, I thought, “God, this is going to be dull,” but after a couple of weeks I was sent down to the workshop and had a sort of epiphany. There were all these people making fabulous things. And they all seemed to be having such a good time. I just loved it. WE MAKE TROPHIES for F1 and horse racing, and it’s still a terrific feeling when you see a champion holding them. I'VE HAD MORE FUN at Goodwood than you could imagine. It’s such an extraordinary place. It’s hard to choose a favourite moment, but being snogged by Frankie Dettori after he won a race is probably one of the standouts.
I'M NOT A BIG DIAMOND PERSON. I think there are more interesting stones. I’ve been working with pink topaz and I love them. I love emeralds too, but I’m always slightly nervous around them, because they’re just so delicate. MY REMAINING AMBITION? Just to play cricket for England, but it seems unlikely now. Other than that, to have as long and happy a life with as many friends and family as I possibly can.
ILLUSTRATION BY ELIZABETH MOCH
I’D FIND IT HARD TO CHOOSE a favourite work of art. Possibly Rembrandt’s A Woman Bathing in a Stream, which is in the National Gallery. I used to go and look it at when I was a student, and realised I’d never be as good as him.
FP CRUX UK Special Situations Fund
In it together - that’s the
The manager has a significant amount of his own money in the Fund Richard Penny, the manager of the new FP CRUX UK Special Situations Fund, invests his own money in the Fund alongside his clients. This is something he has done throughout his career and is a practice employed by all the fund managers at CRUX. Richard is confident that his tried and tested investment approach will continue to deliver and maintain his solid
Consult your financial adviser, call or visit:
track record over the long-term. The new Fund holds a core of mid cap companies topped up with some FTSE 100 names and a number of carefully selected small cap ideas. If you’d like to consider investing alongside the manager, find out more by visiting our website. You’ll have an experienced manager in the driving seat.
0800 30 474 24
Fund Featured; FP CRUX UK Special Situations Fund. This financial promotion is issued by CRUX Asset Management Limited who are regulated by the Financial Conduct Authority (FRN: 623757). The value of an investment and the income from it can fall as well as rise and you may not get back the amount originally invested. Past performance is not a guide to future performance. A free, English language copy of the full prospectus, the Key Investor Information Document and the Supplementary Information Document for the Fund, which must be read before investing can be obtained from the CRUX website or by calling us (details above).