GOODWOOD | ISSUE 21

Cars Fashion Farming Vintage Dogs CarsHorses Tech Food & Living the life

Fashion Farming Design Dogs Horses Vintage Tech Food & Living the life

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Spring 2022

The chicken and the egg

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SOME ENCOUNTERS YOU WEAR FOREVER. RINGS, EARRINGS AND NECKLACE IN BEIGE GOLD, WHITE GOLD AND DIAMONDS.

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LETTER FROM THE DUKE OF RICHMOND

spring into action Welcome to the spring edition of Goodwood magazine. I am especially pleased that we have returned to print with this edition, which we are now publishing alongside its digital counterpart.

In this issue we are focusing on two exciting new events which are coming to the Estate this year. The first is Goodwoof, our festival dedicated to all things canine. This celebration of dogs will have something for everyone, from dog-andhuman sports events and an exhibition of Holly Frean’s dog-inspired paintings to training sessions and our unmissable Barkitecture competition. We’ve taken our dog accommodation seriously ever since Sir James Wyatt designed the splendid 18th-century Kennels at Goodwood. Read about today’s leading architects trying their hand at designing the ultimate dog houses, presided over by design expert and dog lover Kevin McCloud, on p46.

In August we will welcome Eroica Britannia to Goodwood (p34). A celebration of cycling’s glorious past, the event’s 5,000 participants from the world over must ride pre-1987 bicycles and sport vintage cycling outfits… no Lycra allowed! We’re sure the steep hills of the South Downs will prove every bit as enjoyable and challenging a terrain as those of northern Italy, where L’Eroica began.

But before then, we have much to look forward to. Kicking off the year’s motorsport in earnest, the 79th Members’ Meeting will take place in April, with its usual mix of racing thrills and old friends. In June, we will return with the Festival of Speed, more news of which we will share in our next edition.

Elsewhere in the issue, we focus on the rise of regenerative farming (p38), a practice we are championing here at Goodwood. As our farmer Paul Dovey explains, this approach puts the quality of the soil at the heart of every decision with the aim of leaving the land in better condition for the future. We also tell the story of the reordering of the Yellow Drawing Room (p56), a project led by leading interior decorator Edward Bulmer and our own curator James Peill. And we meet four vintage detectives (p64) each using their expertise and historic sleuthing power to uncover treasures from the past.

I hope you enjoy the magazine and very much look forward to seeing you here at Goodwood soon.

The Duke of Richmond

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TIME, A HERMÈS OBJECT.

H ERM ÈS H 08 TH E TE X TU RE OF TI M E

24/02/2022 LMH_HQ • Visual: H08 • Magazine: Goodwood (UK) • Language: English • Issue: 14/02/2022

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CONTRIBUTORS

The front cover shows a citron-plumed Sebright, an English breed of bantam chicken, shot by Moreno Monti and Matteo Tranchellini. Start and Finish photographs by Stephen Hayward

Clare Finney

Robert Crampton

Clare Finney is a food journalist.

She won the 2019 Fortnum & Mason Food Writing Award and published her first book, The Female Chef: Stories and Recipes from 30 Women Redefining the British Food Scene, in 2021. Her second book, Hungry Hearts: a Story of Food and Love, comes out in 2023.

As The Times Magazine’s resident Beta Male columnist, Robert Crampton writes on all aspects of masculinity. Who better, then, to analyse the bromance at the heart of fabled 1980s movie Top Gun and its superstar, Tom Cruise, who will return to the big screen as Maverick in the sequel this spring.

Finlay Renwick

Emma Moore

Born and raised in Chichester, men’s fashion writer Finlay Renwick has always been aware of the perennial revelry at Goodwood – yet this issue’s story on vintage cycling jerseys is his first real contact with the estate.

When he’s not out on his bike, he is the editor of Drake’s and has written for Esquire, ELLE and GQ.

London-based writer Emma Moore has a nose for emerging trends in the worlds of design and wellness, grooming and gastronomy. After initiating the beauty pages at The Sunday Times Style magazine, she then spent a long stint travelling the globe as Lifestyle Director at Wallpaper* magazine.

Simon Mills

Alun Callender

Simon Mills is a journalist, author, content creator and brand consultant with over 25 years of experience writing for the likes of Vogue, Tatler and The New Yorker.

He recently interviewed Prince Charles for Wallpaper* magazine, and in his spare time has competed in L’Eroica cycle race three times.

Growing up around craftspeople gave award-winning portrait photographer Alun Callender an innate understanding of creative processes. For this issue he shot our Vintage Detectives, an assignment that saw him close to hypothermia in an underground storage facility in London’s Fitzrovia district.

Editors Gill Morgan James Collard

Art director Sara Redhead

Design Marco Minzoni Ewa Dykas

Deputy editor Alex Moore

Sub-editor Sydney Diack

Picture editor Joe Hunt

In-House Editor for Goodwood Catherine Peel catherine.peel@goodwood.com

Assistant to the editor Jonathan Wilson

Project director Sarah Glyde

© Copyright 2022 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.

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: sarah@uncommonly.co.uk

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CONTENTS

Shorts 12

Contacts

Collectors and fashionistas are spending big on logo-clad, pre-Lycra sporting gear 27

The mindful rider

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Into the blue

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Home sweet eco-home The demand for sustainable, carbon-neutral homes is rising

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Boys are back in town Start your engines and grab that body oil – Maverick is back!

Last of the chain gang Last century’s chain-driven cars were smart and stylish

Woman’s best friend Holly Frean’s witty dog paintings are a centrepiece of our inaugural Goodwoof festival

French bleu de travail is very much back in vogue 18

To C is to believe Celebrating the beauty of Group C sports-car racing and the cars that made history

Natasha Olivant’s riding academy finds a home at Molecomb Stud 17

Hounds of love An artist’s new collection homes in on our canine companions

The story behind Elliott Erwitt’s famous chihuahua photograph 14

Racing stripes

FROM TOP: JONATHAN JAMES WILSON; GETTY

START

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We can be heroes Eroica Britannia, the cycling race with a vintage heart, sets off from Goodwood this summer

Sound of the century Rickenbackers and the rock stars who played them

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Meet the barkitects

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We asked a prize pack of architects to design sustainable, joy-inspiring homes for dogs. Yes, really 56

House masters Celebrated interior designer Edward Bulmer and Goodwood curator James Peill unveil the long-awaited reordering of the Yellow Drawing Room

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The vintage detectives A new kind of private eye has been snooping about, and they’ve got their sights set on rare treasures

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From top: the reordered Yellow Drawing Room at Goodwood House, in all its glory. The mini skirt is back, shorter than ever

Back to the land Regenerative farming, a practise championed at Goodwood, is paving the way forward for sustainable agriculture

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Lap of honour World record-breaking skydiver and BASE jumper Felix Baumgartner sits down (for once) to talk big dreams and supersonic speed

finish

Small and perfectly formed After the pandemic put us in sweats, the miniskirt beckons us to bare all

Features 38

Calendar All the best that Goodwood has to offer this spring.

Diaries at the ready!

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An Edwardian house party decoded Just who was at the Race Week party at Goodwood in 1906, and what were they wearing?

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Start

Which comes first, the chicken or the egg? It's the ageold conundrum that philosophers have puzzled over for centuries, since Plutarch first posed the question in the 1st century CE. The simplest answer is that it’s both, surely – and at the same time, neither – given that this is, after all, the cycle of life, over and over, and generation after generation… Of eggs laid by chickens, some as easy on the eye as the beauty gracing the cover of our spring issue. Meanwhile the phrase “it’s chicken and egg” remains the perfect way to describe a complicated situation where it’s hard to say what comes first.

But philosophy aside, a freshly laid egg is surely one of life's purest and most simple pleasures. It’s perhaps especially enjoyable first thing, when – whether scrambled or poached, boiled or fried (over-easy or sunny side up?) – that golden yolk suggests the optimism of a bright new day... Just as hens and chicks and eggs feature large in the symbolism of spring and renewal. Well, it’s chicken and egg, isn’t it?

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SHORTS CONTACTS

elliott erwitt, chihuahua, 1946 In the first of a new series delving into the contact sheets of famous photographers, we tell the story behind one of Elliott Erwitt’s famous canine shots

Elliott Erwitt, 93, has captured everything from key moments in history (Nixon and Khrushchev’s famous kitchen debate) and cultural landmarks (the stills for Bob Dylan’s No Direction Home film) to the vagaries of everyday life throughout his distinguished career. One theme, however, has run through his work over these eight decades: dogs. “I take a lot of photographs of dogs because I like dogs, because they don’t object to being photographed and because they don’t ask for prints,” he once quipped. As a connoisseur of human absurdity and the humorous moments in life, Erwitt would often use dogs as a comic foil in an image, providing a different perspective to a scene.

Born in Paris to Russian Jewish immigrant parents, Erwitt moved to the United States when he was 10, in 1939. After studying photography and filmmaking, he was drafted into the US Army and started work as a photographer’s assistant while stationed in France and Germany. Asked to join Magnum, the distinguished photographer’s agency founded

by Robert Capa and Henri Cartier-Bresson, Erwitt also worked as a freelancer for the likes of Life, Holiday and Collier’s, and it was here he developed his stock in trade of witty, fly-on-the-wall takes on daily life.

This shot of a jumper-clad chihuahua in New York City was taken in 1946, when Erwitt was only 18, but already displays his famous lightness of touch. It is interesting to see that the highlighted shot focuses on the dog and disembodied feet of its owner, making the dog the star of the show and its owner a strangely gargantuan accessory.

He went on to produce five books on the subject, and recently noted: “I have never especially set out to take dog pictures, but somehow dogs appeared in large numbers on my contact sheets. Obviously my sympathy for the creatures was deeper than I had imagined.” www.magnumphotos.com

MAGNUM PHOTOS

Words by Gill Morgan

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TOBY ADAMSON

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SHORTS CLASSICAL RIDING SCHOOL

THE mindful RIDER

Below: Molecomb Stud on Goodwood Estate, home to Natasha Olivant’s riding school

A pinch of ancient knowledge and a dash of modern thinking inform Natasha Olivant’s approach to horsemanship at the Classical Riding Academy, Goodwood’s very own equestrian school

Words by Alex Moore

In The Art of Horsemanship, the oldest known manual on horse riding (c.355 BC), the Athenian cavalryman and philosopher Xenophon expounds the benefits of getting to know the psyche of one’s steed. A harmonious relationship between man and horse, he claims, provides the proper foundation for riding in a light, expressive and ultimately artistic manner, adding, “Anything forced and misunderstood can never be beautiful.”

Today, Xenophon’s principles still form the basis for an equestrian practice known as classical riding, but there have been one or two revisions and more than a few contemporary refinements over the course of two and a half millennia. “I think classical riding is almost like a religion,” says Natasha Olivant, founder of the Classical Riding Academy at Molecomb Stud on the Goodwood Estate. “It is constantly evolving.

Nowadays, we combine everything we inherited from the great masters with what we’ve come to learn through modern technology, namely the biomechanical workings of human and equine bodies. We now know how those two things can influence each other in a positive or negative way, because ultimately we never want to push a horse out of its comfort zone.”

For Olivant, the academy is nothing short of a dream come true. She grew up in Chichester, kept her first pony at stables in the Molecomb valley and, since the age of eight, longed to ride at the yard she now runs. “I never planned to open a riding school,” says the former Dressage Master.

“Only the training I had when I was young proved to be hugely enlightening, so when I began teaching [horse riding] I realised there were fundamentals that many people simply

weren’t aware of, and that I needed to bring this knowledge to a wider audience. It should be the bare minimum of what riders are learning everywhere – it should be the benchmark.”

And so, since 2016, Olivant has endeavoured to enlighten students of her own, young and old, novice and accomplished, many of whom have jumped back into the saddle during the pandemic. They are drawn to the academy, one of the few remaining classical training centres in the country, on account of the experience of the instructors and the calibre of the horses. Indeed, Olivant has spent years handpicking horses with charm, dignity and patience – and often with surprising resumés. Cecil, a Carthusian-bred stallion, for example, was acquired from Giffords Circus, while Pedro, a handsome young dapple grey, previously worked as a stunt horse for a jousting company.

So what does an enlightened rider look like? “They recognise the fact that the performance of the rider fundamentally affects the performance of the horse,” explains Olivant. “The horse isn’t subjugated, rather it wants to be there co-operating with you. I sometimes describe it as mindful horse riding. It requires a much deeper understanding.”

It is perhaps this incorporeal aspect of riding that has offered a cathartic outlet to many during the pandemic. “I think horses speak to people on a different level, they’re incredibly grounding,” says Olivant. “They’re sentient beings, and getting the best out of them requires respect, agnosticism and skill. They’re like a mirror. You can’t hide your emotions from horses. They don’t understand incongruence, so they’re a very good indicator of what you’re projecting. Riding is almost an abstract form of therapy.”

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GHOST BOLDER IN BL ACK A powerful force emerging from the shadows.

Bolder in expression, bolder in performance, bolder in attitude.

Discover Black Badge Ghost.

Visit www.rolls-roycemotorcars.com

Rolls-Royce Black Badge Ghost: WLTP combined: CO2 emissions: 359 g/km; Fuel consumption: 15.8 mpg / 17.9 l/100km.

The values of fuel consumptions, CO2 emissions and energy consumptions shown are based on the new WLTP test-cycle and determined a ccording to the European Regulation (EC) 715/2007 in the version applicable at the time of type approval. The figures shown consider optional equipment and the different size of wheels and tyres available on the selected model. Changes of the configuration can lead to changes of the values.

For vehicle related taxes or other duties based (at least inter alia) on CO2 emissions the CO2 values may differ to the values stated here. They do not relate to any one particular vehicle, nor are they part of any offer made, rather they are solely for the purpose of comparing different kinds of vehicle.

Further information about the official fuel consumption and the specific CO2 emissions of new passenger cars can be taken out of the “Guide to Fuel Consumption, CO2 Emissions and Electricity Consumption of New Passenger Cars”, which is available at all selling points and at https://www.gov.uk/co2-and-vehicle-tax-tools/ in the United Kingdom, https://www.dat.de/co2/ in Germany and or your local government authority. © Copyright Rolls-Royce Motor Cars Limited 2022. The Rolls-Royce name and logo are registered trademarks.

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SHORTS FRENCH WORKWEAR

into the blue Words by Josh Sims

“I don’t come from a background of collecting vintage clothing at all – but I am French,” laughs Marie Remy, founder of London-based The French Workwear Company. “In fact, my interest in French workwear is partly nostalgic – my father was a mechanic so I grew up seeing him dressed in blue. And the parents of my friends sometimes worked in factories making furniture or glass bottles for Vittel. Everyone in France has a workwear jacket hanging up in the garage.”

Not since American jeans in the 1960s has a workwear garment undergone such a renaissance. French bleu de travail – roughly translating as “work blues”, and including trousers, overalls and, most distinctively, the boxy, bigpocketed, unlined chore jackets in a characteristic purpleyindigo shade of blue – have become highly collectible, especially in the UK, Japan and Korea. Remy supplies some of the more standout examples, from lovingly worn styles from the 1930s through to deadstock pieces from the 1970s.

“You can really get into the details like the subtle changes over the decades, the brands, the labelling, because French graphic design over the 19th-century was great. And, of course, the older examples can have beautiful fading or repairs,” says Remy. “But there’s also an appeal simply in the fact that, like jeans, the workwear jackets are hardwearing, comfortable, look as good on women as men, and go with almost anything. And, France having been the centre of the fashion business, the quality is there - I think that’s why so much of it has survived, while workwear garnments from elswhere haven’t. It’s a quality that you don’t see in similar

Bleu de travail, those hardwearing and distinctively toned jackets, trousers and overalls, are more covetable than ever, now worn by followers of fashion from London to Tokyo. Collector Marie Remy explains the chic appeal of the working uniform of France

jackets from, say, East Germany, which annoyingly get passed off as French.”

Remy fell into dealing in work jackets by accident. With a career in music production and promotion, she has long shared a collecting habit with her husband, the musician Tjinder Singh (of Cornershop/Brimful of Asha fame) - him with vinyl, her with jackets. “So we decided a few years ago that we had to sell off some of the surplus, and that grew into a business,” she explains.

It’s good business: while many such jackets are affordable, you can expect to pay in the high three figures for a jacket in black moleskin, for example, with those in green, originally made for gardeners and among the rarest versions, also commanding higher prices. Indeed, thanks to the rediscovery of bleu de travail over the past decade - one which has seen several of the original makers, such as Vetra and Le Laboreur, given a new lease of life, and other brands such as Le Mont Saint Michel acquired and relaunched - the best vintage examples are not so easy to source. Remy has to work her contacts and pound those flea markets.

Such has been the demand for bleu de travail that even the French have reappraised their unsung national dress.

“Of course, some French people are still astounded that anyone would want to wear the kind of clothing that was once considered throwaway or just for the workers,” says Remy. “But others are discovering the appeal of these jackets.

There’s an authenticity and an earthiness to them that just feels right now.”

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from web

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SHORTS GREEN COUNTRY HOUSE

HOME SWEET ECO-HOME Sustainable, carbon-neutral homes can also be things of beauty, as a growing number of architects and owners are proving Words by Emma Moore

OSCAR PROCTOR

Left and below: the interior and exterior of Practice Architecture’s low-carbon Flat House in Cambridgeshire, which is constructed out of of prefabricated hemp panels

Homeowners are on the move, and much like the growing willingness to go electric when our wheels expire, we’re starting to look differently at the specs for our new homes.

Environmentally responsible building is becoming widespread, and, with the constructed environment churning out 40 per cent of the emissions targeted for extinction by 2050, it’s not a moment too soon.

The trend for eco-upgrading across our green(ish) and pleasant land is confirmed by reports from estate agent Savills, which has observed increasing demand for country properties and plots that are (or could be) carbon neutral.

“Passivhaus, an internationally recognised standard in energy efficiency, is becoming increasingly popular in the UK, as housebuilders look for ways to reduce emissions,” writes Frances Cooper, Associate Director of Residential Development Sales at Savills. Octagon Park, for example, designed by Norfolk practice Hudson Architects, includes houses meeting ecological design principles set out by the Passivhaus Institute in Germany: high insulation, triple-glazed windows, insulated frames, mechanical ventilation and energy self-sufficiency.

Architects are now being called on for innovative solutions to carbon-neutral ambition. Flat House on Margent Farm in rural Cambridgeshire is exemplary. The work of Practice Architec ture, the zero-carbon home is made from prefabricated hemp panels, which swallow carbon. A biomass boiler, wind turbines and solar energy panels supply all its energy needs.

An exodus from the capital is certainly bolstering the number of environmental upgrades in the countryside. Food stylist Iain Graham, once the owner of a large, leafy property in Hackney, east London, has joined the exodus. Lockdown propelled him and his family up to the Yorkshire Dales, where they purchased a concrete bunker and some land. Their dream includes a foraging-themed food business and a zero-carbon home soon to be built on the site. “We plan to transform it into a beautiful eco-home surrounded by biodiversity and nature,” he says.

Harriet Paterson, meanwhile, an interior stylist and educator with a sharp focus on ecological design, moved recently from her Eco House in Camberwell – a blueprint residence often featured on London’s Open House trail – to Sheffield. While her Yorkshire eco-build is still a way off, she has clocked many like-mind local homeowners and architectural practices. In particular, Paul Testa Architecture (currently building a Passivhaus for weaving designer Susi Clark) and CE+CA Studio (working on energy-efficient builds, as well as eco-proofing retrofits such as the 1960s modernist mansion Ravine House in Derbyshire).

Eco-proofing homes will soon be less choice, more necessity – and sooner for some, since the recent government mandate for off-grid houses to switch to renewable energies by 2026. A few visionaries, however, are demonstrating how, with some committed carbon-wrangling, our future can be even greener and more pleasant.

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SHORTS HONDA CHAIN CAR

LAST OF THE CHAIN GANG Words by Peter Hall

Anyone who has ever replaced a malfunctioning bicycle chain then wiped their hands on a freshly laundered handkerchief will be familiar with the feeling that there must be a better way of turning a wheel than a dirty, noisy and frequently temperamental device that was already over a thousand years old when Chinese astronomer Su Song used it to drive a clock tower in medieval Kaifeng.

The fact is, however, that a chain is the most efficient means of transferring mechanical power from one place to another, despite its several drawbacks. It was frequently used on early motor vehicles, and is even now ubiquitous on racing karts and high-performance motorcycles.

Indeed, visitors to this year’s 79th Members’ Meeting at Goodwood can enjoy a race exclusively for chain-driven cars. The AFP Fane Trophy replaces the popular SF Edge Trophy for pre-1923 machines and is sure to be spectacular, featuring a full grid of Frazer Nash sports and racing machines from the 1920s and 1930s.

These lightweight, minimalist cars are beguiling in their simplicity, although that might not immediately be obvious when you lift the driver’s seat to reveal the transmission system. From the engine, a short propshaft connects to a bevel gearbox that turns a pair of half shafts, each carrying two or three sprockets connected by chains to corresponding sprockets on a solid rear axle (these vary in size, offering a choice of gear ratios). The front sprockets are free to rotate until engaged by a simple dog clutch, whereupon drive is transferred directly to the rear axle. It is rather like several single-speed bikes lashed together and great fun to drive – once you have mastered the art of changing direction.

That said, the last of these Frazer Nash “chain gang” cars was built in 1939. Although they continue to entertain in historic motorsport, few postwar motorists would regard chain drive as anything other than long-obsolete technology.

Japanese engineering genius Soichiro Honda thought otherwise. Having salvaged what he could of a piston-ring business destroyed by war and earthquakes, Honda and a dozen employees started producing motorised bicycles using war-surplus generator motors in Hamamatsu in 1946.

Two years later, they were building their own engines, and by 1959 the Honda Motor Company had become the biggest motorcycle manufacturer in the world.

Small, four-wheeled vehicles were a natural development.

Based on the T360 pick-up and S360 roadster prototype of 1962, the S500 of 1963 was Honda’s first production passenger car and drew heavily on the company’s motorcycle

COURTESY OF RM SOTHEBY’S

Chain-driven cars such as the Honda S500 were marvels of engineering, packed full of design innovations — but at their core is a technology that’s over a thousand years old

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The Honda S500, the Japanese marque’s first commercially produced car – and the last to be chain-driven

experience, using a sophisticated little 531cc four-cylinder engine that produced 44bhp at 8,000rpm.

A four-speed gearbox transferred power to a differential, but whereas conventional cars would employ hefty driveshafts between the differential and the rear wheels – alongside some combination of leaf or coil springs and more or less independent suspension arms – the Honda employed half shafts that each turned a pair of chain-linked sprockets enclosed within cast aluminium-alloy casings. Pivoting vertically around the half shaft, each casing was independently coil-sprung and thus served as a trailing suspension arm akin to the swingarm of a modern motorcycle. With a small sprocket on the half shaft and a larger one at the wheel, these chain-drive units not only saved weight but also acted as reduction gears at the end of the drivetrain, multiplying the torque available from the tiny, high-revving engine.

The S500 was followed in 1964 by the S600 roadster and coupé, powered by a slightly larger, 606cc engine that revved to a stratospheric 9,500rpm and produced 57bhp.

With a top speed of 90mph and 0-60mph acceleration in 17.8 seconds, its performance was on a par with the contemporary MG Midget, Austin-Healey Sprite and Triumph Spitfire, although they were much more conventional and relied on engines twice as large. No European manufacturer could offer the Honda’s complex, watch-like engineering at a comparable price. Honda was already building Formula One cars at the time: the chain-driven S500 and S600 were at the cutting edge of innovative automotive engineering.

Sometimes, the old ways are the best.

A one-off race of chain-driven racing cars made by the British Frazer Nash marque in the 1930s will take place on April 10th at the 79th Members’ Meeting.

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SHORTS GUITARS

sound of the century Rickenbackers were the guitar of choice for musicians such as George Harrison, Pete Townsend and Paul Weller – and performers are still singing the brand’s praises. A new book explores the Rick’s enduring appeal Words by James Collard

Paul Weller was “about 15” when he got his first Rickenbacker guitar. “My mum and dad helped me buy it,” he recalls. “It was about £70, which seemed like a hell of a lot of money at the time – the same price as my first scooter.” Young Weller had just formed The Jam, soon to become one of the leading British bands of the 1980s, and was inspired by hearing the Beatles and The Who playing these iconic guitars. “When you’re that age you think if you get the right guitar it’ll make you sound like George [Harrison] or Pete [Townsend]. Of course it doesn’t. You realise it’s not the guitar, it’s the person playing it. That’s the sound.”

Nonetheless, the sound of the Rickenbacker electric guitar – the first such instrument when it debuted in California in 1931 – emerged as one of the key ingredients of 20th-century popular music, beginning when sales of its early models coincided with the migration of black Americans from the rural south to the industrial north, where blues musicians went from playing tiny shacks to large urban venues. And as the rock’n’roll sound emerged, they were played by many of the leading figures of 20th-century pop music: John Lennon bought his first Rick in Hamburg in 1960, George Harrison two years later in America – and Weller in 1970s Kingston-upon-Thames.

So, whether you’ve heard of the brand or not, you’ll have grown up with that sound. The guitar’s evolution over nine decades – and many different artists and genres – is recounted in Rickenbacker Guitars: Out of the Frying Pan, Into the Fireglo. It’s a definitive history and a labour of love for Martin Kelly, the music publisher and band manager who co-founded Heavenly Records, and his

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IAN DICKSON / GETTY

brother Paul, a photographer, designer and filmmaker.

“It was a dream gig,” Martin Kelly said, for these two Berkshire-born guitar enthusiasts to spend “about a year gathering the material, going on American road trips”, photographing guitars and meeting “quite a few big characters along the way.” The Kellys also achieved one key goal: “to include all the Beatles’ Ricks”, which are still extant, in the book, with both the Lennon and Harrison estates cooperating with the authors. It was moving, says Kelly, to visit Harrison’s former home at Friar Park and hold his Rickenbacker guitars.

Weller owned 17 Ricks during his Jam years. “When we got our first advance, we all bought new kit. That was when I started buying 330s”, he recalls, referring to the top-selling Rickenbacker first manufactured in 1958, which would prove the most popular model throughout the 1960s and again in the 1980s.

“They looked cool and the sound suited what we were playing – Ricks were an important part of The Jam’s sound,” says Weller. After forming The Style Council, he would move on to a 360F Rickenbacker from 1960, more appropriate for “my jazz phase”. That said, “I always kept hold of my first Rick, the small Lennon one … but I gave it to my daughter Leah recently, as she’s just started playing guitar.” And thus the Rickenbacker story continues.

Rickenbacker Guitars: Out of The Frying Pan Into the Fireglo is available now from www.phantombooks.com. The publishers are hosting an exhibition of rare Rickenbackers March 18-26 at Shapero Rare Books, 106 New Bond Street, London W1.

Above: The Jam’s Paul Weller backstage, strumming his Rickenbacker guitar

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SHORTS VINTAGE CYCLING JERSEYS

Racing Stripes Last century’s parade of cycling jerseys, in all their woollen, multicoloured, logo-clad glory, are provoking five-figure spending sprees in today’s vintage collectors and fashion lovers

Right: cyclists Jacques Anquetil, Eddy Merckx and Felice Gimondi, Tour de France, 1970

The 1976 film A Sunday in Hell by Danish director Jorgen Leth is one of the great sport documentaries. It serves as a grainy time capsule of a bygone era of athletic performance and grit, charting the gruelling Paris-Roubaix race, one of cycling’s oldest competitions, which begins north of Paris and ends right on the rainy border with Belgium. Across 280 kilometres of cobblestones and country roads, the race pushes its participants to their physical limits. In it, we see legends of the day: De Vlaeminck, Maertens, Demeyer, Ritter and, of course, the great Eddy “The Cannibal” Merckx, grasping for greatness. It looks painful, awful and, inadvertently, very, very stylish.

Designed for their aerodynamic performance and – given the era – technical prowess, vintage cycling jerseys have become much sought-after collectors’ items. Rare pieces from the sport’s glamorous, smoking-up-the-Alps halcyon days can go for thousands online and at auction. Merckx – arguably the greatest cyclist of all time – commands an especially dizzying price amongst road racing fanatics. A 1970 Giro d’Italia Maglia rosa jersey in merino wool with pleasingly wonky Pirelli, La Gazzetta dello Sport and Famino logos has an estimated value of more than £20,000, while the Belgian’s 1974 World Championship jersey in white with multicoloured stripes is even dearer at £40,000.

Going back to the pre-Merckx peloton, the 1950s and 1960s saw the rise of the cycling jersey as its own, unique athletic garment. There’s the beautiful sky-blue Bianchi jersey in merino with a strong pointed collar: a holy grail amongst diehard cycling fans, it wouldn’t look out of place on a runway today. In the 1960s, the dominant St Raphaël team wore red and white stripes to conquer the mountains, proving, decades later, to be the inspiration for Rapha, the British cycling brand you’ll see on the backs of plenty of Sunday riders. Recently, Rapha caused quite a stir by collaborating with iconic London skate brand Palace on a psychedelic polka-dot cycling jersey for the 2020 Giro d’Italia, proving cycling has modern, crossover fashion

appeal. Unsurprisingly, the jerseys all promptly sold out.

In order to set riders apart in the alpine scrum and cater for the advent of aerial filming, teams entered into something of a peacock technicolour arms race as the 20th century wore on. At the 84th Giro d’Italia race in 2001, flamboyant Italian sprinter Mario Cipollini turned heads (and stomachs) when he wore an anatomically correct “skin suit” printed with accurate musculature – impressive and quite disgusting.

The original outfit sold for more than £40,000 at a charity auction in 2003.

In 2007, Paul Smith created a special-edition jersey with Rapha to celebrate the Tour de France Grand Depart coming to London. It originally retailed for £175. That same jersey is now – if you can find one – worth £10,000. Sir Paul, a legend of the British fashion industry, has long been a fanatical cyclist and collector of the sport’s ephemera. In the foreword to his 2016 coffee-table book dedicated to road-racing style, Paul Smith’s Cycling Scrapbook, he wrote, “As a designer, one of the ways I find inspiration is by going to street markets. Wherever I go on my business travels, whether it’s Florence or New York, I tend to know where the weekly markets are and what day they’re on. I might find an old sweater or something with a special type of knitting or interesting colours. And slowly, especially in Italy, I began coming across old cycling jerseys. So I started buying them.

“Recently they’ve become a lot more expensive. In Forte dei Marmi, a resort in Tuscany, they have a big market twice a year, and there’s a man who sells old jerseys. He sold me the one that’s probably my favourite in my collections: it’s Felice Gimondi’s world championship jersey, in wool, with the rainbow stripes. It came with a letter of authentication, and obviously I had to pay quite a lot for that. But last time I went, the prices had gone right up and I just couldn’t buy any. It’s got to the point where the sellers think they’re more valuable than they are.”

That said, if the current trend is anything to go by, those sellers were bang on the money.

ROGER VIOLETT / GETTY

Words by Finlay Renwick

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01/03/2022 16:51

SHORTS SUZY MURPHY

“Our dogs humanise us,” observes artist Suzy Murphy.

“They’re carriers for our emotions. There’s an Indian theory that – if you and your dog achieve a truly loving bond – it will come back in its next life as a human. At 57, I’ve had dogs forever by my side.”

Chelsea-based Murphy, whose work is sought after worldwide, has created a collection called Feet on the Ground, Head in the Clouds for chic British lifestyle brand Connolly. It encompasses limited-edition sculptures miniaturised to pendant- and pin-size, featuring trees, flowers, feet – and dogs.

Behold: a necklace entitled Toby was a Girl, an exquisite, curved sighthound in 22ct gold-plated bronze on a 9ct chain – the ultimate canine talisman (edition of five, £3,800). There is Running Dog, a glorious, sprinting variant (edition of two, £3,800). Or you might crave one of Murphy’s Toby is a Girl etchings (two editions of 30, £1,000), irresistible to any hound enthusiast, or even its huge oil-on-linen incarnation (£22,000).

Born in London’s East End to a teenage mother, Murphy moved to Alberta, Canada, at the tender age of five. The

sudden entry into North America’s vast open spaces proved formative: her work reveals an obsession with landscape and the emotions projected therein. Back in London, three years later, she acquired her first dog.

“I called it Toby. My mum was 18 when she had me, meaning she was naturally a bit distracted from parenting and forgot to tell me the dog’s sex. Later, she said, ‘You do realise she’s a girl?’ So I spent my entire time walking her on Clapham Common saying, ‘Toby’s a girl’. Toby was crazy.

She became symbolic of my childhood and its extremes, and the way you can’t have beauty without pain. She becomes a representation of me in my landscapes.”

Toby was a black labrador cross. In Murphy’s art, she morphs into lurcher/whippet guise; a mythic, fantasy beast, the uber-hound, and “core of what a dog should be”. As Murphy remembers, “When Toby died, I was with some very glamorous people in the south of France. If it had been a grandparent, no one would have reacted, but they all welled up thinking about their childhood hounds.” As Murphy sees it, “In giving us time to be with our dogs, lockdown gave us back this fundamental bond.”

hounds of love Life is simply better with a dog by your side, and with Suzy Murphy’s beautiful new work for Connolly you can also have one gracing your walls, hanging around your neck or pinned to your lapel Words by Hannah Betts

Above: Toby was a Girl gold pendant and chain, part of Murphy’s new canine-centric collection

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01/03/2022 16:53

SHORTS PORSCHE

TO C IS TO BELIEVE

To know Group C sportscar racing in its heyday is to love it, and no other manufacturer made them quite like Porsche – but it was arguably the drivers who made these magnificent machines the stuff of legends Words by Ben Oliver

Motorsport has its pinnacles and its backwaters, and the particular passions of its fans are often an eclectic mixture of the two. Big budgets, big-name racing drivers and global media attention don’t guarantee our interest. Modern Formula 1 can leave some motorsport cognoscenti cold, yet we can spend hours lost in books on aero-engined Edwardian racers or the crazy 10,000km Argentine road rallies of the 1940s.

You’ll struggle to find a motorsport fan, however, who doesn’t love the Group C sportscar racing of the 1980s and early 1990s. At its peak it attracted almost as much attention as Formula 1, with which it sometimes shared drivers. It had works teams and deep-pocketed tobacco sponsors, yet it

retained the excitement, fascination and credibility that engage proper enthusiasts (but which sometimes get lost when motorsport gets too polished). Whether they saw the racing during that era or first encountered the cars later, perhaps at a Goodwood event, those in the know will give you a nod and a smile if you mention the mighty Porsche 956 and 962, and they’ll linger by the cars as they sit parked in the Members’ Meeting paddock.

The dominance of one manufacturer or team can also turn aficionados against a series, and Porsche certainly dominated the early years of Group C. The 956’s first attempt at Le Mans in 1982 was one of the most confident, successful entrances in motorsport history. Having run competitively

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LEFT: KLEMANTASKI COLLECTION / GETTY

only at the Silverstone 1,000km race earlier that year, the 956 of Jacky Ickx and Derek Bell led for the entire 24 hours, finishing 1-2-3 in race number order ahead of its two garagemates. For good measure, the same engine powered two Porsche 935s to fourth and fifth places. The 956 and 962 would go on to win six Le Mans in a row and five World Sportscar Championships, with the 962 even coming back to win Le Mans again in 1994 under Jochen Dauer.

Yet this crushing Teutonic efficiency didn’t turn us against Porsche, at least in part because its story is also a deeply human one. Yes, the cars were mighty and technically brilliant, with their ground-effect bodywork and pioneering use of the twin-clutch gearbox now commonplace in road cars. A turbocharged flat-six making 650bhp might not seem so impressive when you can have that power in a Porsche SUV today, but it was enough to hurl the 800kg 956 down the Mulsanne Straight at more than 220mph.

Yet this was still a closed-roof, nominally two-seat sportscar with a manual gearbox and three pedals, which started with a key. The engine was at least notionally related to that in the 911, and the car’s greatest attribute – beyond speed, power and downforce – was reliability. In modern parlance, the 956 and 962 were relatable. We could just about imagine ourselves driving one, perhaps even on the road – and Jochen Dauer did produce a very limited run of road-going 962s.

They were also indelibly associated with one man rather than a faceless corporation. Norbert Singer is one of the great racing engineers. Like Rudolf Uhlenhaut at Mercedes a generation before, he was a Porsche lifer, intimately involved in every Porsche Le Mans victory between its first in 1970 and its 16th in 1998, won by his 911 GT1. He remains a talismanic figure for Porsche enthusiasts, his abilities as an engineer matched only by his affability and lack of arrogance. Singer, the maker of ultra-high-end bespoke 911s, was named in part after Norbert.

The drivers helped, too, of course. Our ability to picture ourselves driving a 956 or 962 was probably helped by the fact they weren’t raced by the 19-year-old, nine-stone neophytes now dominating F1, but by guys like Bell and Ickx, Jochen Mass and Henri Pescarolo, who weren’t in the first flush of youth and whose careers fans had followed since the 1960s and 1970s. If Mass and Pescarolo could still lever themselves into a 962, perhaps we could too.

One of the 956’s greatest achievements was recorded by one of its younger drivers. Stefan Bellof was just 25 in 1983, and about to begin dividing his weekends between Formula 1 and sportscar racing when he lapped the Nordschleife in 6 minutes 11 seconds: a record that would stand for 35 years, so incandescent was the performance.

Bellof would not live to see it broken, of course. Two years later, at Spa, his 956 would collide with the 962 of Jacky Ickx, claiming the life of the young German many had tipped to be a future Formula 1 world champion. Just three weeks earlier, Manfred Winkelhock had been killed in a 962 in the previous round in Canada.

For this reason, Porsche’s history in Group C will always be shot through with a streak of sadness. But such tragedy only binds us more closely to a story. As with other pinnacle moments in motorsports, these were the best of times and occasionally also the worst, but we love that series and those cars all the same. There will be a demo of Porsche Group C cars at the 79th Members Meeting.

Left: pit stop for the winning Porsche 956 of Jacky Ickx and Derek Bell at Le Mans 24 Hours Above: a Porsche racing at the 72nd Members’ Meeting in 2014

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SHORTS HOLLY FREAN

WOMAN’S BEST FRIEND Ahead of the inaugural Goodwoof festival celebrating all things canine, artist Holly Frean explains why dogs have a starring role in her paintings, soon to be showcased in an exhibition at The Kennels Words by Gill Morgan

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Below: Holly Frean’s Assembly, part of a collection headed to Goodwood for her latest solo show

Sitting in artist Holly Frean’s bright, serene studio, dogs stare out from every wall, by turns puzzled, mournful, eager, amused. Many of the paintings will soon be heading to Goodwood, where they will be hung in The Kennels for Frean’s solo show, Dog, as part of the inaugural and eagerly awaited Goodwoof festival.

“I’ve had great fun with them,” says Frean, whose stock in trade is a painterly playfulness, often taking an artistic or historical tradition and subverting it with witty charm.

Particularly striking are two enormous diptychs, Dotty and Assembly, each 10ft x 6ft, which will have pride of place in the entrance hall of The Kennels. Both take the dog theme and expand it towards something approaching abstraction.

If you stand back or narrow your eyes, those hundreds of doggy figures morph into a pattern of carefully balanced colours and shapes. Only when you lean in and focus on each individual animal do the dogs emerge again, in all their individual glory.

“If you go up close, for example with Assembly, you can see that each dog is very distinctively itself, with its own expression and character. I’ve got most major breeds in there – you’ll see all the ear shapes and heads and sizes are different.” There is something innately comical about this large assembly of mutts, looking as if they are attending a grand meeting or performance. “It’s very silly,” says Frean.

“But I take the actual painting and composition very seriously.

I work up close on each dog, working from left to right, but then I’m constantly standing back to check I’m getting the right kind of pleasing balance of colour and shape I want.”

Dogs aren’t the only things Frean paints – far from it – but they keep calling her back. Trained at Camberwell Art School and City & Guilds, she found early success with worldwide shows and collaborations with brands such as Anthropologie, Burberry, Andrew Martin and Paul Smith.

Her work wears its painterly skill lightly. She loves to play with repetition – “Oh yes, I love a grid” – and enjoys taking a tradition, such as Old Master portraits, and interpreting it in a way that’s “a bit off”. She applied a similar approach for Goodwood, celebrating the 2nd Duke’s famous pack of 23 hunting dogs from 1738 in a grid, each hound carefully named, and the 24th being a fox. Another grid, Pack , shows 54 spaniels painted on individual A8-sized sheets of cotton rag paper.

Frean’s portraits have a cult following: she has a steady stream of commissions she is behind on (“I always say, don’t come to me if you want an absolute likeness; that’s not what I do”), and at Christmas she unveiled an advent calendar of minuscule dog portraits, complete with tiny, ornate gold frames, that she photographed on the walls of a doll’s house and Instagrammed. She couldn’t produce them fast enough: “One woman in New Jersey set her alarm for the early hours of the morning so she could be awake when I posted them.

I think she bought 12.”

And finally, home life has caught up with art: having spent so much of her career painting canines, Frean finally took the plunge just over a year ago and acquired a family dog. Bella, a very beautiful eight-month-old greyhound, arrived on Boxing Day in the depths of lockdown and now relaxes at her mistress’s feet under the desk as Frean perfects her doggy masterpieces. “Dogs watch your every move,” says Frean. “I sometimes think they’re learning how to behave when they reincarnate as humans!”

Dog will run from May 1–29 at The Kennels, Goodwood.

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01/03/2022 16:56

SHORTS TOP GUN

THE BOYS ARE BACK IN TOWN As Maverick returns to our cinema screens this May, we celebrate the bromance at the heart of Tom Cruise’s 1980s cult classic, Top Gun

Words by Robert Crampton

Right: Tom Cruise at Goodwood in 2021 Below: Goose (Anthony Edwards) and Maverick (Tom Cruise) in Top Gun (1986)

There are lots of reasons to celebrate the long-delayed arrival of the Top Gun sequel, the best being the excuse to re-watch the original. I was 21 in 1986 when Maverick, Iceman, Stinger, Viper, Hollywood (those nicknames – you always knew Goose was doomed, if only because of his lame call-sign) first locked and loaded at Mach 2. Earnest undergraduate I may have been, I still wanted a slice of the action. My girlfriend protested at the deviation from our usual diet of something Eastern European with subtitles, but even she couldn’t knock the famous volleyball scene, with Tom Cruise and Val Kilmer shirtless, six-packed and oiled up on the beach. Director Tony Scott was honest enough to admit this sequence was basically soft porn.

Soft porn featuring male bodies, however, wasn’t something we were used to in 1986. The Deerhunter, Rocky and (in more genteel fashion) Chariots of Fire had introduced mainstream audiences to homoerotic bromance, but Top Gun took the emerging genre to a whole new altitude.

Cruise’s thing with Kelly McGillis was always secondary to the guy-on-guy drama. Maverick and Goose, Maverick and Cougar, Maverick and Iceman, Maverick and his deceased, dishonoured dad: the key relationships are all about masculinity. Daft and yet not, I would submit, toxic masculinity, but instead a study in how young men go about getting along with each other and their demons.

In which regard, I am slightly ashamed to report, Top Gun is devastatingly accurate. If the film were just about aeronautical derring-do, it would not be iconic. For a school for elite US Navy pilots in San Diego, read (glancing at my

Above: Sitate mporeto verspe por re lacium adis volupta doluptiorunt ut notaadis et arciis enis re.

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BELOW: THE EVERETT COLLECTION

own experience) a five-a-side football team in Yorkshire, an office in London, a family gathering in the home counties.

Our trials, tribulations and triumphs may not have taken place at 20,000 feet facing a Soviet MiG 28, but we’ve all been there – clashing, contesting and compromising with our competitors.

Why else was Top Gun such a big deal? One, Tom Cruise became an absolute megastar. He divides opinion, but I reckon it’s a scandal he hasn’t won an Oscar. Two, it marked the re-emergence of the 20th-century’s most popular entertainment form. In the mid-1980s, George Lucas and Steven Spielberg were doing their best to revive cinema after the 1970s, when great movies from Scorsese, Coppola, Altmann and Cimino had not often equalled great boxoffice hits. Producers Don Siegel and Jerry Bruckheimer joined the party and helped coin the term “popcorn movie” with the magnificently shot, orchestrally scored marvel that was Top Gun. Oh, and the catchphrases. Silly, yet enduring. Cruise turns 60 this summer and evidently still feels the need for speed, popping into Goodwood last July to pose for pictures with Formula One legend Mario Andretti. Whether he still elects to turn and burn is a mystery. But I bet he does.

Top Gun: Maverick will be in cinemas from May 27th. If you’ve got a need – a need for speed, Goodwood’s Top Gun Combat Mission takes you up in a two-seater aircraft for 25 minutes of aerobatic manoeuvres, tail-chasing and simulated air combat high above the West Sussex hills.

Contact 01243 755055 for more details.

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SHORTS EROICA BRITANNIA

we can be heroes For a quarter of a century, cyclists have gathered in Chianti for L’Eroica, an epic and at times eccentric two-wheeled adventure.

This year, however, the race will take to the South Downs – starting at Goodwood Words by Simon Mills

Right: conquering the South Downs as part of Eroica Britannia, Britain’s answer to Italy’s famous race Below: cycling legend, Sir Chris Hoy

In Tuscany, where it all began back in 1997, they called their sun-dappled, creamy stone bridleways la strade bianche – literally “the white road”. The loose, gravelly, rollercoastering surface – sterrati – is prone to kicking up dust in the heat, rutting and turning into slippery wash in the rain.

The stuff of legendarily epic cycling adventure.

It is on these roads that Garmin Cervelo’s David Millar, a sturdy, elongated girder of a Scot, won the hallowed Maglia Rosa back in 2010, during the long Giro D’Italia stage from Piombino to Orvieto, the last 19 kilometres of which were mostly joyously technical white road. “Switzerland’s Fabian Cancellara and Australia’s Cadel Evans always knew how to handle the sterrati, too,” recalls David Millar. “Some others?

Not so much. The more sensitive pros couldn’t deal with it.”

That same network of strada bianchi around the Siena countryside is where the annual, all-inclusive L’Eroica Italia ride takes place. It is a festival of old-school sartoria, steel frames, style and souplesse – originally intended to raise awareness for the beauty and maintenance of the old, white countryside roads and stop them from being asphalted over. The long-running L’Eroica (literally “hero”) garnered a reputation as the world’s best-catered, toughest, bestdressed, most must-do gran fondo (“big ride”, originating in Italy in 1970). As someone who has participated in the Eroica three times – twice in Chianti and once when it moved to the Peak District – I know well the joy and glory of the event. Its nighttime start, with hundreds of candles lighting the sides of the roads, is one of sports’ most magical moments.

“Discover the beauty of fatigue,” L’Eroica founder Giancarlo Brocci would say. “And the thrill of the conquest.”

Recognising that the chalk roads snaking around Goodwood are made of the same white stuff and that southern England is blessed with hills and views that rival anything in Tuscany, British cycling legend Sir Chris Hoy, the Duke of Richmond and Eroica Britannia co-founder Tim Hubbard got together to set a date for a similar celebration of cycling’s glorious past in the UK: Eroica Britannia 2022.

Beauty, fatigue and conquest in the South Downs.

Terms and conditions for this most handsome and generously catered of sportives are aesthetically and gastronomically driven, the velo-romance of elegant craftsmanship championed over pointless weight-shaving.

Ergo, Erocia Britannia will be a Lycra-free environment, where jerseys and shorts are required to be of traditional wool construction. Pit stops will be indulgent affairs showcasing local produce, with riders encouraged to take the time to enjoy the Sussex panorama and refuel with gusto

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SHORTS EROICA BRITANNIA

Left: knowing how to repair your ride is encouraged Below: participants line up for some welldeserved refreshment in front of one of our stunning locals

before tackling the next stage of the route. Pre-1987 steelframe bikes are required, ideally with fancy lugs, gear levers mounted on the down tube and external brake cables that loop over the handlebars. Wheels should have at least 32 spokes and low-profile rims. Pedals that attach to feet with toe straps are preferred over SPD clip-ins. Shoes can be brown or black leather lace-ups.

Eccentricity is encouraged, too. It is perfectly OK to add, as an Italian Eroici often does, a handlebar-mounted configuration for the wind-drying of sausages. Or to have a live tawny owl sit on one’s crossbar. If you don’t own your own kit, there will be a vast number of bicycle market stalls on site selling a huge array of vintage clobber – leather shoes, wool jerseys and shorts, casquettes and cotton feed bags. A well-stocked beer tent, too. Should you suffer a mechanical, Goodwood’s stable of specially liveried team cars will be en route to assist.

“Riding the Eroica will be a bit like driving a classic car,” says Hoy, reminiscing about the old Benetti steel he owned during his student days in Scotland. “It will require a different set of skills and sensibilities.” Road, track, cross, BMX, MTB – any two-wheeled discipline will come in useful. Take some

sandwiches, a tool kit and spare inner tubes. “You might only be cycling 50 miles, but plan for a full day out. And for every eventuality – rain, mud, sunshine,” says Hoy. “Learn how to fix a puncture. On an older bike, you need to be mechanically sympathetic to not expect it to stop as efficiently as your Di2-equipped carbon-fibre bike, and to accept the wheels might feel like soggy sponges on some surfaces.”

Riders can choose from three different loops of 25, 60 and 100 miles along the same roads where the 1982 UCI Road World Championships were won and lost. Each ascending route includes spectacular views of the south coast and the English Channel, and passes by Goodwood landmarks such as the Racecourse, The Kennels and Goodwood House before attacking the famous Festival of Speed Hill Climb.

“Take it easy – you don’t need to go as fast as possible.

Forget about your power metre data and your aero bars.

The charm of the ride is all about experiencing the beautiful countryside and nurturing a love and respect for classic design and old technology,” says Hubbard, before dropping in his personal Eroica Britannia mantra: “We like to say, ‘The last one home wins.’”

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24/02/2022 16:38 14:20

Back to the land Words by Clare Finney

Photography by Jon Nicholson

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Regenerative farming is leading the way for farmers looking to put as much back into the environment as they take out — and that, according to Paul Dovey, Goodwood’s farm manager, all starts with the soil 39

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BACK TO THE LAND

“We aren’t just farming for food – we’re farming for the environment. We’re farming for carbon,” explains Paul Dovey, Goodwood’s farm manager, with refreshing candour.

This would be a controversial statement for a beef, dairy and pork farmer even if “dry” and “vegan” weren’t the flavours of the month during our January meeting. Having spent years writing about ethics and sustainability in food, I know Dovey is right: when practised responsibly, farming can transform not just our health but the health of the soil, the atmosphere and, ultimately, the planet. But it takes some explaining when we have (not incorrectly) been told for years that farming is one of the biggest causes of rising global temperatures and diminishing biodiversity.

So what does Dovey mean? And why is he so confident that farming can put back into the environment more than it takes out? To answer this, we need to look to soil, those unassuming brown clods we so readily dismiss as dirt. Soil’s capacity to store carbon is greater than that of any other ecosystem, and a healthy soil rich in organic matter will, like trees, serve to draw carbon back out of the atmosphere. Yet where once the health of agricultural soil was maintained through mixed farming – that is, having livestock and arable together – farming in Britain is now mostly divided, with one half arable land dependent on expensive, inorganic fertilisers contributing toward soil degradation and water pollution, and the other livestock farms contributing toward greenhouse gas emissions and deforestation. Mixed farms also have an excess of the most natural, cheap and organic fertiliser on the planet: manure.

I say British farming is divided, but there are, of course, farms that are reverting to a mixed approach, or who never abandoned it in the first place. Goodwood is one of the latter.

Here, Dovey and his team practice “regenerative farming”, of which mixed farming is an important part. Food lovers may have come across regenerative farming in the form of Reganuary: a pro-regenerative movement that is often presented by the media as a reaction against Veganuary, though there is more that unites the two than divides them.

“Rather than just grass, we grow a mixture of around 30 different species of greens. It’s like a salad bowl for the cows”

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Goodwood’s farm manager Paul Dovey combines the old techniques of rotational grazing and crop rotation with more cutting-edge scientific knowledge of natural ecosystems.

Photograph by Jonathan James Wilson

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Goodwood places great emphasis on pasture and grazing practices.

Right: Goodwood’s pigs are a mix of Gloucestershire Old Spots and British Saddlebacks

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BACK TO THE LAND

“We need to make sure we graze in a way that’s best for the plants, the soil and the animals”

Put simply, regenerative farming is a method that looks to counteract the effects of climate change and environmental degradation by rebuilding organic matter in the soil and restoring biodiversity.

Put more simply still, it means “passing the farm on in a better shape than you inherited it”, says Dovey. As the steward of an estate that has been in the same family for 300 years, he feels this acutely. When the country’s first organic certification body, the Soil Association, was established in 1946, Goodwood was one of its earliest members; crop rotation and rotational grazing have long been regular practices. Now, Dovey is combining those tried-and-tested techniques with “a more scientific knowledge of natural ecosystems. If you look at how wild bison and cattle graze on big plains and grassland, rotating crops with livestock replicates that cycle in which the soil is depleted then replenished,” he continues.

“With a monoculture, where you grow the same crop year on year, you run the risk of encouraging a particular disease or pest, which then needs pesticides or herbicides, and of eventually depleting the soil of certain nutrients.”

Sadly, you only need to look at the levels of soil erosion in the east of England to see the severity of this problem.

Without organic matter and a dense network of roots, the soil loses its structure and is easily eroded, leaching carbon into the atmosphere, nitrates into the water system and ultimately leaving it stripped of fertility. “That’s why we plant cover crops: plants we don’t harvest, but which can protect against soil erosion. Bare soil is not something that happens in nature.” These cover crops can double up as a source of food for livestock, which furthers the replenishment of organic matter through manure. “Rather than just grass, we grow a mixture of around 30 different species of greens. It’s like a salad bowl for the cows,” laughs Dovey. These greens offer myriad benefits: “They enrich the soil; encourage insects, which encourage birds; and they tap nutrients deeper in the soil so they’re healthy and tasty for the animals.” The end result is a greater store of carbon and nutrients in the soil – and for us, healthier and tastier meat or more flavoursome milk, cream and cheeses.

Cover cropping is nothing new. Yet it is illustrative of the role livestock can (and arguably should) play in a sustainable food system, particularly in Britain. Grass, hedgerows and other such foliage make up a huge proportion of our landmass. If we are to avoid the expansion of crops into the countryside while feeding a growing population, then land that is neither forest nor suitable for growing human crops should be utilised by ruminants – cows, sheep, goats and deer – which can convert it into nutrient-dense food that we can eat.

This argument only holds if the animal products we consume are fed grass or hay. If they’re fed soy or grain, it means land that could and should be used for the cultivation of human crops is being used for animals, risks contributing toward rainforest deforestation and misses out the key role grazing plays in carbon capture and soil fertility. It’s why Goodwood places such a great emphasis on pasture and grazing practices: “Pasture grazing is a good system for carbon sequestration, because the denser the organic matter, the more carbon is captured,” says Dovey. By grazing outside, ruminants boost organic matter in the soil in two ways: through manure, and through trampling the longer grasses into the soil with their hooves where they decompose. Yet ensuring the land can reap those benefits requires careful

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BACK TO THE LAND

Left: Goodwood’s shepherd Nick Page feeding a new arrival Right: some of the estate’s diverse crops, pasture and forestry

management: “We need to make sure we graze in a way that’s best for the plants, the soil and the animals,” Dovey adds.

In summer, this means “mob” grazing – think cow control rather than crowd control. “We have large numbers in one field, they graze all the grass there, deposit the manure then move to another field, and so on,” says Dovey. “This allows a long rest period for the grass, in which it can recover, grow taller and put down deeper roots.” Better root mass means better drainage, “and if the soil is aerobic and not waterlogged, you can have better biodiversity and better growth of the grasses in future – which then means flowers, and all the wildlife that comes with them.” It means that when the cows eventually return, they have diverse forage to graze on and trample into the soil, beginning the cycle anew.

Lovely as it sounds to let the cows roam freely through all the fields, the result is that they “graze selectively, which stresses the plant out. Through mob grazing, you are managing the stock and the grass and you are following more of a natural cycle – in the wild, this is how cows would move.”

Later in the year this approach changes again, so that the cows can winter outside and continue enriching the soil through trampling and grazing. “Instead of being in sheds, where they have to be bedded and have food taken to them and be mucked out, we have them outside with straw padding they can lie on, and access to shelter under the trees,” says Dovey. Pasture grazing takes two regenerative forms: strip grazing and bale grazing. Like mob grazing, strip grazing means the amount of fresh crop available to the cows is limited. A temporary fence allows them to graze just a strip of fresh crop, and only when that is grazed is the fence moved forward. With bale grazing, cows eat the bales of hay that are spread evenly out across the field in which they were made that summer: “There’s no collecting the bales and transporting them to sheds, then mucking them out and transporting the manure back to the fields. They just eat their way across, in a managed way, as they can only access a set number of bales at a time.”

Again, this ensures an even spread of manure and the soil continues to benefit from trampling – but it also saves money, energy and feed costs, says Dovey. “It makes sense from a financial aspect as well as an environmental one.

Agrochemicals are rising in price, as are fuel costs, as is awareness of the need to reduce our emissions.” It’s why he’s so hopeful about the future of regenerative agriculture and its widespread adoption by British farmers. “You can adopt it bit by bit, and adapt it to your practice and to your land,” he continues. Organic, free-range, pasture-reared meat and dairy may not feel accessible now, “but I think this is how we will all be encouraged to farm in future, by government and consumers.” Like the vegan movement, the regen movement is desperate to feed the world without further damaging it in the process; by restoring cows, sheep and goats to the land, regenerative farming endeavours to restore nutrient-rich meat and dairy to our diets in a way that supports, rather than sabotages, our ecosystem.

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Meet the

Barkitects Words by Emma Moore

Goodwood is famous for its 18th-century kennels, created by a starchitect of his day, Sir James Wyatt. So where better to host an architectural competition dedicated to abodes for today’s lucky canines, judged by design guru and dog-lover Kevin McCloud

Long before it became known for its annual celebration of man’s mechanical cohorts, the Goodwood Estate had a thing for man’s original best friend: the dog. In fact, so enamoured with his pack was the Duke-huntsman resident at Goodwood towards the end of the 18th century that he engaged the country’s most celebrated architect to build luxury digs for his dogs across the lawns from the house. These kennels came with all manner of creature comforts, including central heating: the Duke’s canine companions were, reportedly, housed more royally than his two-legged guests.

The stately neoclassical building designed by James Wyatt in 1787 still stands today, extended and reappointed internally over the centuries, and now serving as the clubhouse to putters instead of pooches. This May, however, The Kennels will return focus to the welfare of its first residents as it hosts Goodwoof, a festival celebrating the estate’s historical harmony between man and his four-legged friends.

The pioneering programme is set to include sessions of dog yoga (Doga) and other holistic therapies for hounds alongside discussions led by animal behaviourists. There will be demonstrations of sheepdog and gundog skills, and a packed schedule of canine sporting events, from Flyball

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“You want a home that is really well built, commodious and properly designed for a dog in all its needs”

Opening pages: RIBA award-winning architect Lincoln Miles with his wife, artist Lisa Traxler, and their dog, Susie. Right: dog lover and the face of Channel 4’s Grand Designs, Kevin McCloud.

and Barkour to owner-and-dog events such as CaniCross and CaniBike, which make the wider estate their bucolic arena. “To this day, dogs can stay at the hotel, accompany their owners in the restaurants and even join our members’ clubhouse, The Kennels,” says the Duke of Richmond. “We thought that it was only fitting to dedicate an entire event to them.” Clearly a keen attention to dogs’ welfare has passed down the ancestral line.

Central to proceedings at The Kennels on May 28th and 29th will be an exhibition of the shortlisted entries to a very contemporary architectural competition, Barkitecture.

Underlining the wellbeing theme of the wider event, it will feature diverse and entertaining responses to a callout for homes for hounds, with wellbeing at their heart. The competition was initiated just before Covid disrupted our diaries, when the Duke teamed up with an authority on architectural adventuring, Kevin McCloud. Together they wrote to 40 architectural practices and schools, inviting fresh thinking for this neglected area of design.

A dog lover himself, McCloud helped to define the brief.

“With regard to architecture for human beings, Vitruvius talked of firmness, commodity and delight, and I believe these are key as well for animals,” he explains. “You want a home that is really well built, commodious and properly designed for a dog in all its needs. And you also want it, of course, to be a beautiful thing – though trying to figure out what a dog thinks is beautiful may be something of a mythical objective.”

Put it down to idle T-squares in lockdown or a swell of appreciation for our canine support teams in difficult times, but submissions flowed in from the great, the good

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Above: architecture practice Stanton Williams’ entry, Nook, caters for both dog and owner.

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“It is part kennel, part armchair and part side table, all within half a square metre”

and the emerging of the architectural world. A selection of nine standout blueprints from established practices was made, alongside a “best of” category for student entries. The shortlist of nine includes designs from starchitects Foster + Partners, Sir Michael Hopkins and Lord Rogers, respected draughtsmen Lincoln Miles and Michael Russum of Birds Portchmouth and Russum, prize-winning studio Stanton Williams, design doyens Jony Ive and Marc Newson of LoveFrom, and custodian of high-end craft David Linley.

Undoubtedly, both motivations played their part. In 2020, the creative industries were on go-slow, and, as McCloud points out, architects do love a dog. “Architectural practices accommodate dogs very well – particularly if their owners have foibles,” he muses. With time on its hands, the architectural community was in a perfect position to contemplate dogs’ present-day role as companions, personal trainers and mental-health support officers, and to imagine the structural solution to compensating their efforts.

The office dog was, in most submissions, appointed the role of uncompromising client, and the consultation phase was taken very seriously. For Michael Russum it was Illy, partner Richard Portchmouth’s dog, who directed the project. “Richard had brought Illy into the office and put down her bowl and mat for her to snooze upon. Observing Illy encircling on the mat and querying why she did this, Richard explained it was intuitive and reflected her innate need to trample down long grass to create soft bedding,” Russum recounts. “This inspired the oval plan.” Taking the idea of dog-led design a step further, he envisaged a new architectural order. “The elliptical pavilion encircled by a colonnade introduces an important new order of barkitecture – the Boneian Order – to adorn the little palace and joyfully reflect Illy’s regal demeanour.” Illy also, it seems, required her environmental values to be met, inspiring the rainwater feed to the drinking bowl, and Accoya – a stable and machinable wood product highly resistant to rotting – as the construction material. Though the team stopped short of making a model, the presentation is polished. With the top spend for kennel construction set across the competition at £250, however, the

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“Why not consider our bed for Little Susie as a masterpiece for the 20th-century modernist era… but with a sense of humour?” actual finish may be more artisanal, and Russum’s own shed might be seeing some making action between now and the event. With the bone colonnade evoking henges (protective settlements and enclosures), Illy’s new domicile earned the name Bonehenge.

Little Susie, a mature canine family-member, was Lincoln Miles’s muse, yet inspired something quite different. “Our approach was to build on that sense of irony Little Susie has, and our starting point was the famous Kennels at Goodwood – a masterpiece and forward-thinking in its day,” Miles explains. “Why not consider our bed for Little Susie as a masterpiece for the 20th-century modernist era…

but with a sense of humour?” Evoking Le Corbusier and his “Modular man” system, Miles set out his five points of dog architecture, which include the brilliant “Modular Dog needs to see everything and so the facade needs to be unrestricted and structurally sculptural” and “Modular Dog would love a roof terrace to see the world and bake in the sun”.

Integral to the design was also the chosen material, cork, a naturally occurring, negative-carbon material that is warm and tactile to touch, breathable, vapour transmissible and odour-controlling. The 100% recyclable outcome, Le Cork’s Ronchamp D’Habitation et Modular Dog, is, we can assume, the kennel of Little Susie’s dreams.

Above: early sketches of Birds Portchmouth and Russum’s colonnade-inspired Bonehenge.

Left: architects Richard Portchmouth, Michael Russum and Kevin Poon discussing the rot-resistant wood, Accoya

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THEO FE

WALLED GARDENS

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Stanton Williams, meanwhile, took the human-dog relationship as its starting point, and integrated repose for both owner and pooch within its design. The studio also put emphasis on the kennel’s environmental credentials: made from renewable Latvian plywood, the structure is durable and can be dismantled for easy moving. “Nook is conceived as a kennel for the contemporary city dweller, where innercity apartment living is common, space is scarce and every square millimetre counts,” explains Luke O’Bray, whose cockapoo Wilma is the office mascot and project inspiration.

“It is part kennel, part armchair and part side table, all within half a square metre.” Wilma, it seems, is a “people dog”, so Nook offers her a place of sanctuary while maintaining a connection to her humans. “The person sitting in the chair can unwind right next to her, maintaining a sense of togetherness, and a ‘treat window’ offers a direct physical link for affection and treats.”

The Barkitecture creations, in all their hand-finished glory, will make a sensational centrepiece to proceedings at Goodwoof. An eminent panel of judges will pick the winner, taking into account attention to wellbeing, dog-human relationship, resilience and durability in use, sustainability, architectural ambition and joy – for dogs, that is. At the end of the event, the editions of one will be auctioned off by Bonhams, with proceeds going to The Dogs Trust charity.

Homes of stately proportions like Wyatt’s kennels they may not be, but designs to raise a woof in today’s canine world they certainly are.

The entries for the Barkitecture competition will be exhibited at Goodwoof, May 28-29

Top: crowds gather at The Kennels for a hunt during the Victorian era. Middle: an engraving of The Kennels (1793). Left: a photograph of Hound Lodge from the Goodwood archive

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Goodwood’s curator James Peill, left, and Edward Bulmer in the West Entrance Hall at Goodwood House

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House Masters Words by James Collard

Photography by Jonathan James Wilson

When Edward Bulmer and James Peill set out to reorder the lustre of Goodwood House’s Yellow Drawing Room, they sought to balance form and function – creating an interior that is authentic but can be enjoyed by new generations

“Yellow is sunny, but not always a delight to work with – and it’s at its most challenging in combination with gilding,” warns Edward Bulmer. He should know: an interior designer specialising in reworking historic decor by trade, he’s been tasked with reordering Goodwood House’s Yellow Drawing Room – a Regency riot of yellow and gilding. That said, while yellow might be a tricky colour to pull off inside, it’s certainly on trend right now. Pantone recently declared Daffodil Yellow a colour of the moment. And it was fashionable in 1828, when Whig politician Thomas Creevey visited Goodwood: “Every part of it is gaiety itself… furnished with the brightest yellow satin.”

The fashion for yellow drawing rooms was set by architect Sir John Soane in the 1790s, and yellows were prime favourites throughout the Regency era, in part because stable yellow paint was a relatively new invention – not least with the Regent himself, who commissioned yellow drawing rooms in the Brighton Pavilion, Carlton House and later Buckingham Palace. Back then a yellow interior was a novelty, a luxury even. Today the “YDR” is an English-house style classic, with variations riffed upon by everyone from Nancy Lancaster in 1950s Mayfair to Jasper Conran at his country home.

Bulmer wouldn’t have such a free rein in the welldocumented, historically important interior at Goodwood House and wouldn’t seek one. A country house specialist, he has worked with several leading lights in the field, learning different things from each – including David Mlinaric (“detail”), Gervase Jackson-Stops (“have fun”) and Alec Cobbe (“historic precedence can always be found”). In general, Bulmer doesn’t believe every room in an old house needs to be rigidly period; his own home, a handsome Georgian rectory in Herefordshire, combines brown furniture and Old Masters with modern comforts and ease. But in this, an important interior in the public side of Goodwood House, Bulmer – working closely with Goodwood’s curator James Peill – aimed for authenticity, bringing back “a more consciously 1830s style”. This entailed installing satin wall hangings in a “strong yellow” and meticulously re-creating fabrics for the furniture based on originals stored in Goodwood’s attic, while using parcel-gilt to tone down the impact of that punchy yellowplus-gold combo.

Knowing what the room was meant to look like wasn’t the challenge, given Goodwood’s archives, illustrations of the room and the well-preserved records of Gillow, the

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Lancastrian furniture makers who produced the original pieces (“as successful and well-known as Chippendale 50 years earlier”). But Goodwood House is a busy place – a business, in fact, as well as a repository of important art and furniture and a family home. “Many country houses only get 10,000 or 20,000 visitors a year. The Yellow Drawing Room will have 100,000 people pass through it – that’s more than Kenwood House”, says Bulmer, including people attending frequent functions held in this space, each requiring fast turnarounds. So the meticulous restoration also had to be robust and fit for purpose.

Bulmer describes a “creative dynamic” working with Peill.

“And then there’s the Duke, in whom rests the integrity of the brand, if you like… and the experience he wants people to have when they come to Goodwood… He needs it to look like an intelligently run and curated room – and one that he himself enjoys, even though he’s not going to sit there and read the paper.” For in a sense, the YDR at Goodwood has always been a function room in a house renowned for entertaining, especially during race weeks, as well as a thoroughfare through a suite of rooms. The furniture would generally have been placed against the walls, explains Bulmer, and moved constantly depending on how it was being used and who was using it. Today’s footfall at Goodwood House necessitated the team’s most significant intervention of this historic interior. “The great glory of the room, the huge Axminster carpet, has been rewoven in order for the original to be stored to conservation conditions,” with the replacement based on vibrant colours discovered in the original’s thread samples, unimpacted by sunlight or two centuries of wear and tear.

The end result is splendid, vivid and a world away from the faded grandeur many of us have come to expect from the

The Yellow Drawing Room has always been a function room in a house renowned for entertaining, especially during race weeks

Bulmer and Peill’s finished reordering of the Yellow Drawing Room at Goodwood, “a Regency riot of yellow and gilding”

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EDWARD BULMER

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Left: a daybed in gold and yellow atop a replacement Axminster carpet, which was rewoven based on the original’s thread samples. Above: Bulmer’s paintings for different schemes at Goodwood (clockwise from left): curtains for the Main Bedroom; the new curtain treatment for the Ballroom; suggested arrangement of the furniture in the Yellow Drawing Room

stately homes of England. This was a conscious choice. “If the rest of the room was faded and untouched,” explains Peill, “any intervention would have been sensitive so as to blend in.

However, this room is all about display and grandeur.” Or what Bulmer describes as “bling”, albeit late Regency bling. “We want people to be impressed and awed by it,” he continues.

What’s more, faded or otherwise, interiors aren’t static.

“The one thing you cannot ever do is lock something into a moment of time, because life changes everything, everything is fugitive.” And, says Peill, that spanking new carpet means visitors no longer find themselves being roped off, and can “experience the room as guests rather than outsiders”.

Bulmer’s career has taken him to some very famous houses, including Chequers, Hampton Court and Althorp, home of the Spencers, where he worked on a re-hang of the pictures, a particular skill of his. “Picture hanging,” he explains, “is a very important part of my work. I strongly believe that even with great pictures, a dense hang or a hang of pictures that responds to the architecture and the design intent produces a

room that’s actually less formal. It’s easier to make a room feel comfortable dripping with pictures than with three pictures.”

And not too far from Goodwood, there was also Bulmer’s award-winning neoclassical interiors for Pitshill, home of the Hon. Charles Pearson, which he describes as “a really complete makeover for someone who wanted [to achieve] his view of the perfect Georgian gentleman’s house”.

Bulmer’s relationship with Goodwood is especially long-standing and significant, beginning in 1992 with his involvement with an exhibition at Paris’s Mona Bismarck Foundation of Goodwood treasures. These included Gobelins tapestries and Sèvres porcelain from the Goodwood Collection, which resulted from the dynasty’s French connections and the early Dukes’ strong affinity with France – for the Dukes of Richmond are French dukes, as well as English and Scottish. Then a decade later, Bulmer worked on the interiors within Christopher Smallwood’s new private West entrance front – a classically inspired addition designed to replace alterations from the 1960s deemed unsympathetic

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to James Wyatt’s original vision for Goodwood.

“We had very simple furnishings,” says Bulmer, including a couple of Regency-style sofas he designed alongside an “amazing William Kent table and the fabulous Lawrence portrait” [of Caroline, Duchess of Richmond, painted the year after Creevey’s visit and shown in the photograph of Bulmer alongside James Peill that opens this feature]. The current chatelaine, Janet, Duchess of Richmond, steered the West Entrance Hall project, and as Bulmer explains, “that was a very important commission for me. For the first time ever, really, I was working with fellow eco-warriors.” Duchess Janet – who he calls a “conscious mum and planetary guardian… promoted a sense that everything we use needed to be carefully considered, not just for its aesthetics, but for its ecological and health impacts”. And it was her insistence on using paint made by natural materials at Goodwood that led to Bulmer developing a range of natural paints, a standalone business today.

Back then, Bulmer “didn’t really know enough about what was being used in the paints. When I approached paint makers, I couldn’t really get to the bottom of how paint was made and what it was made from. I knew the rudiments. I knew how it was made in the past, but not what was being used now. Basically, it became clearer and clearer that paint wasn’t made by artisans; it was made by chemical companies.

It relied principally on petrochemical-derived ingredients.

The binders were synthetic resins and vinyls or acrylics and even the pigments were assay dyes or synthesised dyes. I wasn’t able to just pick a mainstream paint and say goodnight, fulfil the brief.”

Then at the suggestion of Hesp & Jones, “my favourite painters”, Bulmer decided to try using casein paint, a traditional paint made with natural materials, including milk, from a supplier in Yorkshire. “We used that, we mixed the colour and that’s the colour you see today in the hall. Not only did it meet the brief because it had no petrochemicals – no off-gassing, highly breathable, very suitable for new plaster – it just looked different. It looked beautiful. It had a real kind of living surface and living quality to it. My head was turned. I couldn’t exactly use anything else going forward.

Ever since that day, that project, I’ve used natural paint.”

That said, casein paints can be tricky to apply and there aren’t, Bulmer explains, enough highly skilled painters to service the growing number of consumers who, just as we’re loathe to use single-use plastics, don’t want to look at our walls and see what Bulmer calls “plastic paint”. Or perhaps more importantly, experience the invisible impact of the chemical fumes mass-produced paint can give off, years after that fresh paint smell has vanished. So the paints he now markets as Edward Bulmer Natural Paint in the growing ecoconscious sector of the market – with brands such as Farrow & Ball and Little Greene producing their own ranges – contain a plant-based binder and, unlike that original casein paint, are pretty easy to apply, he says.

So if you’re contemplating creating a yellow drawing room of your own – and a sustainable one, too – you’ll be pleased to know that the Edward Bulmer Natural Paint collection features 27 different yellows, including a Patent Yellow based on the colour Sir John Soane chose back in the day, though knocked back and faded a little for contemporary use. And there’s always the more punchy Naples or Persian yellows should you fancy something closer to that authentically Regency riot of colour, perhaps with a bit of gilt thrown in.

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“Natural paint has a real living surface and living quality to it.

Ever since the Goodwood project I’ve never used anything else”

EDWARD BULMER

Left: Pitshill House in West Sussex Top and right: a hall and the primary bathroom of Bulmer’s own home. The bathroom walls are in Cuisse de Nymphe Emue pink

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T H E V I N TAGE DETECTIVES Words by Alex Moore

Photography by Alun Callender

From authenticating iconic first-edition books to sourcing retro designer pieces worn by the actors in The Crown, hitting the vintage jackpot requires a wealth of knowledge, passion and dogged persistence. Meet the super-sleuths on the trail of the ultimate rare finds

They might not be investigating serious crime scenes or revelries at No 10, but a new breed of sleuth has emerged, relentless in their pursuit of the truth. These sherlocks are specialists in their fields, willing and able to track down even the most recondite artefacts. Their clients are often enthusiasts, collectors and connoisseurs, seeking a missing piece, a new addition or long-lost treasure. They may also be the costume department from a period drama or a dealer hoping to bolster a price by verifying an item’s provenance.

Either way, no stone remains unturned: their approach is forensic, unfazed by the hard yards that other experts – lacking the resources or, indeed, the patience – might tend to avoid. They’ll sniff around, following leads and solving clues. It’ll mean late nights sifting through reports, archives and journals, researching histories, comparing and contrasting like items. It’s an often-laborious process, but these detectives live for the thrill of the chase. Because when they do crack a case, the rewards are often greater than even they could imagine.

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VINTAGE DETECTIVES

Sammy Jay LITERATURE SPECIALIST | PETER HARRINGTON

“The first edition is an exciting thing... but there’s a real uniqueness to a copy that’s inscribed to someone fascinating“

Previous page: Literature Specialist Sammy Jay in Peter Harrington’s subterranean rare book room. Above: a fragile first edition of James Joyce’s seminal novel Ulysses, celebrating its 100th anniversary this year. Right: Chiara Menage holds a dress by Janice Wainwright (c.1970), worn by Maggie O’Farrell when she was awarded the Women’s Prize for Fiction 2020

When it comes to dealing in the obscure and obsolete, there’s a lot to be said for being in the right place at the right time.

Sammy Jay, Literature Specialist at Peter Harrington Rare Books, will attest to that. It was only after happening upon a first edition of Frankenstein – inscribed by Mary Shelley to Lord Byron – in his grandfather’s library that the young man decided to pursue a career in books.

“I didn’t know at the time that it was the only inscribed copy – outside of one in New York’s Pierpont Morgan Library – let alone the most interesting association,” says Jay. “And so this is where the research starts: how did my grandfather come to have this book, and is it genuine?”

Following little more than breadcrumbs, Jay discovered that John Murray II, Byron’s publisher, had taken possession of all of the poet’s books when he died. More pertinently, John Murray VI was a friend of Jay’s grandfather, and one who had occasionally borrowed money from him. Jay accepts this as a “tenuous but plausible line of provenance”, but was able to confirm his suspicion by working with the Bodleian Library.

It transpired that Byron had written to Murray expressing his admiration for Shelley having penned her novel anonymously at only 18 years of age. Jay then sold the book through Peter Harrington, for an undisclosed (but art-world-esque) sum.

“The first edition is an exciting thing in itself that has an aura,” he says. “And that’s great, but there’s a real uniqueness to a copy that’s inscribed to someone fascinating, that is completely irreplaceable.”

This fascination with the rarest of the rare has seen Jay carve a rather charming niche. He’s now the first port of call for many notable collectors looking to fill the gaps on their own bookshelves. Last year he helped Dior and Fendi artistic director Kim Jones curate an exhibition of Beat books with a particular focus on Jack Kerouac, for whom Jones has a particular affection. The exhibition provided the inspiration for the Dior Men’s Fall 2022 collection and was unveiled at Olympia London in December last year.

“For a long time, Jones didn’t have an inscribed copy of On The Road, which is something you really need to tell the story properly,” remembers Jay. “So when one came up at auction in America I zeroed in on it. It had been inscribed in this very drunken handwriting, but I did some digging and the guy it’s inscribed to is a Greenwich Village poet. He and Kerouac used to drink together at the White House Tavern in New York. I found photos of them together, he’s mentioned in the book, and the handwriting is a dead giveaway – so we can hopefully assume beyond any doubt that it’s an authentic inscription.”

Still, a little luck always helps. While digging around for more Beat literature in Pasadena, California, Jay once discovered a single page of The Canterbury Tales printed by the great William Caxton in 1480. The page in question was the opening to The Wife of Bath’s Tale – a page pored over by academics for centuries since, and one of Chaucer’s most valuable at that. “I must admit,” grins Jay, “the rare book world owes a lot to this kind of serendipity.”

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Chiara Menage FASHION DEALER | MENAGE MODERN VINTAGE By her own admission, Chiara Menage is an inveterate rummager, sifter and hoarder of clothes. It is only in the last couple of years, however, that she’s managed to channel these tendencies into a burgeoning vintage clothing business.

Menage specialises in high fashion by the likes of Rifat Ozbek, Ossie Clark and Hardy Amies – the kind of clothes you might expect a princess, countess or popstar to save for special occasions – and she has rails upon rails of them. So many, in fact, that she recently sold nearly 100 pieces to Netflix for the fourth series of The Crown. These included a Valentino suit, a Liberty-print dress and a Guy Laroche skirt, all worn by Princess Diana in the series, as well as most of Princess Anne’s Balmoral wardrobe.

Menage has used her little black book from years working in the film industry to great effect, and is now regularly tasked with sourcing period costumes for television. “It’s fun to be given a brief and have to work out who you know whose mother was suitably glam,” says Menage from her home in Fitzrovia.

“For example, one of my friend’s mothers was a debutante in 1950, so had a very particular wardrobe for the circuit that year.

Another friend actually wore the same dress as Princess Diana at Prince Edward’s 21st birthday party – that’s a wonderful

story – so wardrobes like theirs are a great a place to start.”

This new sideline has also granted her access to dozens of new wardrobes. “I’m now being invited to browse the collections of complete strangers, so I never know what I might find,” says Menage, who, trusting her instinct, recently bought the entire contents of half a dozen storage units belonging to a late heiress. It was a gamble, but one that paid off. Among the bric-a-brac and boxes of vacuum-packed salmon were cases and cases (vintage Louis Vuitton, no less) of chic designer garb.

“People can have such strong emotional bonds with their clothes, but by selling them to me they know they’re going to a good home, and perhaps one day they’ll even appear on TV,” she says. “Very often I’ll find things that you couldn’t imagine ever existed, pieces with intrinsic value, like works of art.”

This is where the detective work comes in. Menage must ensure all of her finds are indeed genuine pieces, so she’ll attempt to find out who designed and made it but also the history of the item, who wore it and on what occasion before she lists an item on her website. “This kind of information helps to pass the emotional connection on to the next owner,” explains Menage. “And it can be fascinating what you uncover.

I like to think of clothes having their own secret lives. If you buy something secondhand, you don’t necessarily know what it’s been through, but when you do, it only adds to the enjoyment.”

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VINTAGE DETECTIVES

“Dealers are such hoarders... They know that if they miss their chance to buy something it might not surface again for 20, 50, maybe even 100 years”

Josephine Odet CONSULTANT | THE JEWELLERY INSIDER When it comes to sourcing the finest vintage jewellery, subtlety is key. The last thing you want to do is to alert the market at large. “When you’re commissioned to find a piece of jewellery, you have to be really careful about who you speak to,” says Josephine Odet, better known in the industry as The Jewellery Insider. “It’s not a case of casting your net as wide as you can.

In fact, that’s quite dangerous, because suddenly everyone is scrambling for the same thing, and before you know it the price will have shot up. It’s a case of quietly speaking to the right people at the right time.”

The difficulty here comes with knowing those right people, because many of the top dealers take a prudent pleasure in simply not being known. Odet spent years building her network while working at Sotheby’s and alongside Jessica McCormack, and has recently joined forces with jewellery doyennes Joanna Hardy and Vivienne Becker at Omnēque. It might be a small world made up almost entirely of dedicated dealers and collectors but, she says, the job requires extraordinary memory. Indeed, it’s largely a case of remembering who has what based on a sneak peak at someone’s collection. To make matters worse, the line between dealer and collector is almost imperceivable. “Dealers are such hoarders,” explains Odet. “Most will have been sitting on a lot of really important jewellery for a long time. They know that if they miss their chance to buy something and it goes into a private collection, it might not surface again for 20, 50, maybe even 100 years. They know you have to take your chances.”

And yet the real detective work doesn’t start until Odet actually gets her hands on a piece. “The first thing I do is weigh up its parts – the overall look, the condition, the weight, the craftsmanship and the style,” she says, noting she’d usually have a good idea what she’s handling before inspecting it under her loupe. “Then I look for stamps, maker’s marks, hallmarks or gold-standard marks for different countries, numbers relating to inventory and signatures. Part of my job is spotting something that others may have missed, perhaps a numbering that can be attributed to a well-known maison.”

When a piece is unsigned but bears clues suggesting it’s the work of an important jeweller, Odet would make a formal request to check the maison’s archives. However, some are incomplete and, as such, many jewels cannot be officially authenticated if they aren’t signed and numbered.

“Provenance is rarely recorded with jewellery [on account of it being the most portable asset class] and extremely difficult to prove,” explains Odet. “For extremely important pieces, specialists and collectors may spend years trying to find ‘proof’. But in terms of value, desirability and collectibility, there’s a huge difference between a diamond bracelet from the late 18th century and Marie Antoinette’s diamond bracelet.”

Tens of millions, in fact.

Above: bracelet and necklace by Cartier (c.1925) with fluted Colombian emerald beads, onyx and single-cut diamond rondelle spacers. Right: Josephine Odet, inspects a rare vintage jewellery collection at a private atelier in Mayfair

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VINTAGE DETECTIVES

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How can I prosper in changing markets?

Should I adjust my portfolio?

How do I come out ahead?

For some of life’s questions, you’re not alone.

Together we can find an answer.

The value of investments may fall as well as rise and you may not get back the amount originally invested. © UBS 2022. All rights reserved.

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15.02.22 18:05

VINT

“Some older cars might have had several lives... some may have already been restored two or three times”

Robert Barrie AUTOMOTIVE HISTORIAN | ROBERT BARRIE LTD.

e. er.

5.02.22 18:05

Above: Robert Barrie with his own Porsche, the fourth oldest UK RHD 911.

Left: a boot full of long-discontinued, original parts

There’s a fine line between a car enthusiast and a car obsessive – just ask anyone restoring a vehicle from the mid-20th century. It will be a relatively small job, they tell themselves, before spending months, years even, down a carburetor rabbit hole. Invariably, the aim is to get the car as close to its original state as possible, and that means finding an assortment of rare and obsolete parts – providing, of course, you know what you are looking for in the first place.

“Some older cars might have had several lives,” says Robert Barrie, an historic car expert who specialises in researching, procuring, restoring and compiling the race histories of Porsches from the 1950s and 60s. “Some cars may have already been restored two or three times, once to make it go faster, and again when there might have been budget constraints, and so you could be left with a car that looks about right but in actual fact it has all sorts of random parts.”

Increasingly, Barrie says, collectors are obsessing over authenticity, as the closer a historic car is to its factory settings, the more it will be worth. So unless you stumble across a “barn find” – a forgotten jalopy replete with original parts – there will be work to be done. Which is where Barrie comes in. He is currently trying to source an original ashtray for a client’s pre-production Porsche 911. The trouble is, as

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Left: the original ashtray (July 1965) from Robert Barrie’s Porsche 911

“Occasionally you’ll stumble across someone who was there, who witnessed the car racing, and they’re usually very generous in sharing what they remember” Barrie knows all too well (he’s written books on the subject), Porsche would regularly change the ashtrays around that time – sometimes by the month.

“It might not be the most important part of the car, but it matters to some people,” says Barrie. “He [the client] has been through the car from top to bottom and he’s trying to get every nut and bolt right, so who am I to belittle his efforts?”

So where does he start? “I go back over photos and look at road tests from that period so I know that’ll be a car that hasn’t been tinkered with. By now I’ll probably know someone with a similar car so we’ll go and have a look at that. We’ll gradually piece things together and figure out exactly what the part should be – sometimes it’s just a matter of putting in the hours, to be honest. In the case of the ashtray, it’s not something that’s going to be written down anywhere.”

Meanwhile, tracking down a car’s racing history is becoming increasingly complicated. The process usually starts with Barrie combing through race entry lists, results sheets and specialist magazines from the time. Data protection has put a stop to the DVLA being a helpful resource, and he finds manufacturers are generally less helpful, too. “The best thing about this kind of work is occasionally you’ll stumble across someone who was there, who witnessed the car racing, and they’re usually very generous in sharing what they remember. Sadly, you meet fewer and fewer of those people – some of these cars were racing over 60 years ago – so I must say, it’s becoming an increasingly challenging exercise.”

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24/02/2022 16:40

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SMALL AND Words by Alice Newbold

The miniskirt is back this season – and shorter than ever.

We salute the fashion perennial in all its rebellious glory

PERFECTLY FORMED 75

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The main headline from fashion’s current mission to bring sexy back is that skirt hemlines are shorter than ever. Miniskirts harking back to the youth culture of the 1960s spell out one thing: liberation! After the pandemic rendered dressing up redundant, the shift to swinging, empowering silhouettes that call for good times is hardly surprising. But the styling, which calls to mind another decade currently reaching peak fashion nostalgia, would raise even Mary Quant’s eyebrows: the Noughties. Searches for “Y2K” increased 389 per cent year-on-year in 2021, while “miniskirts” jumped 221 per cent, according to global search platform Lyst.

Quant, the mother of the mini, who named her new microscopic skirts after her favourite motor in 1966,

frequently received requests to hike up her hemlines as the rock‘n’roll spirit swept London. But surely none of Quant’s skirts, nor those of her peers, from André Courrèges to Jean Varon and John Bates, could rival the eye-watering proportions of Miuccia Prada’s skirts at the Miu Miu spring/ summer 2022 show. Mrs Prada sent models down the runway at Paris Fashion Week wearing mere whispers of pleated skirts that had a school-girlish charm when paired with the preppy pieces she does so well (although it would take more than a pair of grey woolly socks and polite kitten heels to read bookish into them).

At Versace, skirts looked less academic, more dancefloor.

Fashion’s ultimate glamazon, Donatella Versace, called upon the world’s biggest supermodels and Dua Lipa to bring her

Versace

Max Mara

Blumarine

Missoni

Etro

OPENING SPREAD: ANDREAS ORTNER @ANDREASORTNERSTUDIO, MODEL: KARLIN OBIANGO, STYLIST: MARIA KOHUTIC, OUTFIT: LOUIS VUITTON, HAIR AND MAKEUP: CHRISTINA GEORGIEVSKA AND MARTIN TYL.; THIS SPREAD AND OVERLEAF: GETTY

THE RETURN OF THE MINI

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THE RETURN OF THE MINI

After the pandemic rendered dressing up redundant, the shift to swinging, empowering silhouettes that call for good times is hardly surprising

glittering disco-ball minis to life. Later in the season, when she swapped jobs with Kim Jones for a one-off collection for Fendi, she fastened her itsy-bitsy skirts with Versace’s signature safety pins (the kind made famous by Elizabeth Hurley at the 1994 premiere of Four Weddings and a Funeral) to breathtaking effect. Fendace (the nickname given to the Fendi-Versace switch-up) comes with the unwritten disclaimer that a rigorous fake-tanning routine is essential before channelling your inner Twiggy and taking the most micro of minis out on the town.

The thrill of baring one’s legs requires significantly less prep, and arguably more polish, at Chanel and Dior, where skirt suits were revived in candy-store colourways. At the latter’s spring/summer 2022 show, Maria Grazia Chiuri

Courrèges

Miu Miu

Chanel

Prada

Dior Hermès

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THE RETURN OF THE MINI

One thing is certain: hemlines getting ever higher means a renewed sense of optimism is in the air paid homage to former creative director Marc Bohan, who famously created a new line for Christian Dior in the 1960s.

Chiuri’s deliciously bold A-line skirts looked fresh, fun and proved that great fashion never dates. At Chanel, Virginie Viard channelled the carefree attitude of the 1980s, when models were encouraged to bring the party spirit to fashion shows. Watching the new faces of Chanel twirl for the cameras in pastel bouclé, the message was clear: miniskirts are about the attitude it takes to wear one. It’s no coincidence that George Michael’s Freedom! ’90 played out at the end of the presentation.

For Britain’s bright young things, including Supriya Lele, Maximilian Davis and Nensi Dojaka, there are no rules when it comes to setting the new miniskirt agenda. Think visible underwear, tantalisingly sheer fabrications and a whole lot of sass. Italy’s young upstart Nicola Brognano, who is behind

the millennium bug renaissance at Blumarine, is leading the way. His collaborator Lotta Volkova, one of the world’s leading influencers, referenced (in no particular order) butterfly girls, denim patchwork queens and low-waisted mermaids for Blumarine’s spring/summer 2022 season.

Translation: anything goes.

Indeed, as Quant said in a 1995 interview with Vogue, the miniskirts she designed “signalled great high spirits”. And while 2022’s iterations might not chime with the idea that hemlines rise when stock prices rise – also known as the hemline index – they certainly channel the no-holds-barred feeling of the decade that gave birth to free love, psychedelia and technicolour. “They had a kind of ‘look at me’ quality,” said Quant, “They said, ‘Life is great.’” One thing is certain: hemlines getting ever higher means a renewed sense of optimism is in the air – at least on the fashion front.

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THE RETURN OF THE MINI

Previous page: two mini-clad models jump to attention in the swinging summer of 1968 Left: the iconic Twiggy wears a pink mini and white knit sweater with matching hat and socks in 1967 Bottom left: Jane Lumb, left, wears a lurex mini by Jon Adams in 1967 Bottom right: Raquel Welch, photographed in a vinyl Pierre Cardin skirt and necklace in 1970

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Every picture tells a story

AN EDWARDIAN HOUSE PARTY DECODED

In this, the latest in a series of features exploring Goodwood’s history through images from the Collection, curator James Peill talks us through the guest list of a race week house party in 1906 81

EDWARDIAN PARTY DECODED

A HOUSE PARTY AT GOODWOOD This formal photograph of all of the houseguests of Goodwood House for Raceweek in 1906 was taken by James Russell, a Chichester native.

He was talent-spotted by Edward VII more than 40 years earlier, resulting in Russell going on to photograph many of the crowned heads of Europe. Perhaps surprisingly, the king himself directed where everyone was to sit or stand. Russell later claimed that many of his most successful group photographs had been arranged by the king.

EDWARD VII King Edward VII was a regular guest at Goodwood for Raceweek from the 1860s until his death in 1910.

Concerned it was becoming more of a fashion parade than a race meeting, he sent a message to the Turf Club asking them to inform their members to come in “pot hats” or straw hats. The members failed to comply, so he went ahead with his new dress code himself to set an example. So, in 1904, he wore a white top hat (instead of a black one), immediately sending trend-lovers into a frenzy as they tried to follow suit. Then, two years later – the date of this photograph – he completed the sartorial downgrade with a switch from morning suit to lounge suit, to be worn with a white bowler/derby, a Panama or an ordinary straw hat. This quickly gave racing events at Goodwood a much more relaxed, holiday feel than at any other racecourse, dubbed by Edward VII “a garden party with racing tacked on”.

THE 7TH DUKE OF RICHMOND The 7th Duke of Richmond (1845 – 1928) was a widower for much of his life; his sister, Lady Caroline, and later his youngest daughter, Lady Helen, thus played the hostesses at parties such as these, with the latter doing so when this photograph was taken (as she is seated on the king’s left, or the viewer’s right).

Every year, the Duke had to send his proposed guest list to the king for approval. Most of the guests in the house party were either relations of the Duke or aristocratic friends he shared with the king.

On this occasion, the Russian Ambassador, Count Benckendorff, was also invited.

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THE BLUE MONKEY The Marquis de Soveral, Portuguese Minister at the Court of St James, was a great friend of Edward VII and the darling of society. As he was not particularly interested in sport, he was quite happy to entertain the ladies while their husbands were outside. Despite his moniker, “the Blue Monkey”, he took a great deal of care over his appearance, with The Sporting Times for that year reporting ‘the greatest thrill of the meeting was the appearance of M de Soveral in silk trousers’.

EDWARDIAN PARTY DECODED

CARTWHEEL HATS The 1900s were an era of big hats for women, and if during the race weeks of 1905 and 1906 the King was trying to simplify male attire – and replace the bulky top hat with the humble bowler – the ladies attending this house party clearly didn’t get the memo. For the era of vast, elaborately decorated ‘cartwheel’ hats – and the elaborate women’s fashions associated with them – was reaching its peak. Fast-forward just 15 years and such headgear and dresses would seem preposterously old-fashioned, as fashionable society women wore streamlined and practical cloche hats and Little Black Dresses.

COUNT VON BENCKENDORFF Count Alexander von Benckendorff was a Russian diplomat of Baltic-German origin who served as ambassador to the United Kingdom from 1903 until his death in 1917. His major achievement was to organise the signing of the Anglo-Russian Entente, a friendly understanding or informal alliance between the countries, in 1907.

This solidified relations between the United Kingdom and Russia and led on to the Triple Entente between both countries and France. This broad diplomatic alignment would later form the Allied Powers of the First World War, a conflict which Benckendorff strove to head off in 1914, working closely with his first cousin Prince Karl Max Lichnowsky.

A convert from Lutheranism to Catholicism, he was buried in Westminster Cathedral, the only layperson to be accorded that honour, under a tombstone inscribed in Russian and Latin by Eric Gill.

SPORTING MOUSTACHES The face of Edwardian manhood was often adorned with a moustache – as becomes clear from this group portrait. They came in different shapes and sizes, from the toothbrush sported by the Marques de Soveral to the Duke of Richmond’s more twiddly number and the clipped, noticeably more modern-looking ‘tache worn by young Guy Neville.

Interestingly the royals in this group portrait both wear beards – which in the Prince of Wales’s case might be attributed to his long service in the Royal Navy. But these two moustaches look distinctly military, somehow both urbane and manly – if reminiscent to modern eyes of Lord Kitchener – as befits two former Guards officers turned royal equerries.

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EDWARDIAN PARTY DECODED

THE HON. MRS GEORGE KEPPEL Alice Keppel was a regular guest at Goodwood for Raceweek. It may seem surprising to find Edward VII’s mistress among the house party guests, but she was very much part of the aristocratic elite. Lady Muriel Beckwith, daughter of the Duke of Richmond (and sitting beside her in this photograph) remembered her as having a pleasant word for everyone.

Her husband, the Hon. George Keppel, was a distant cousin of the Duke of Richmond, a descendant of the 1st Duke of Richmond.

THE MARCHIONESS OF LONDONDERRY Theresa, Marchioness of Londonderry, was the leading political hostess of the day. A formidable character in many ways, she presided over the palatial Mount Stewart in Northern Ireland and Londonderry House in Mayfair, London. Daughter of the Earl of Shrewsbury and married to the 6th Marquess of Londonderry, she famously fell for the charms of Harry Cust, a notorious womaniser. When Lord Londonderry discovered the affair, he promptly stopped speaking to her and only communicated through a third party.

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EDWARDIAN PARTY DECODED

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1. Sir Arthur Davidson A veteran of conflicts in Afghanistan and southern Africa, Colonel Sir Arthur Davidson had been a courtier since the 1890s, as an equerry first to Queen Victoria and then Edward VII. 2. The Hon. John Hubert Ward A son of the 1st Earl of Dudley, Ward (later Sir John Ward, KCVO) was an esquerry for four successive monarchs.

His wedding at the Chapel Royal was one of the great society occasions of 1908.

3. Lady Anne Lambton The youngest daughter of the 2nd Earl of Durham, Lady Anne was a popular guest at society house parties of the era.

4. General Kelly-Kenny Sir Thomas Kelly-Kenny fought in Imperial conflicts in China, Abyssinia and the Boer War, becoming something of a national hero and celebrity. He was an unofficial military adviser to Edward VII. 5. Miss Ivy Gordon Lennox A granddaughter of the 6th Duke of Richmond, Ivy would later become Duchess of Portland and a notable philanthropist.

6. The Prince of Wales The Prince had just returned from a tour of India in 1908, an experience which drove him to urge greater Indian involvement in colonial government.

7. The Earl of Ilchester An Old Etonian, graduate of Christ Church, Oxford and officer of the Grenadier Guards, Giles Fox-Strangways became the 6th Earl of Ilchester in 1905. A bibliophile and keen race-goer, he would later be President of the London Library and a Steward of the Jockey Club.

8. The Duke of Richmond See page 82.

9. The Earl of Durham An officer in the Coldstream Guards, John Lambton, 3rd Earl of Durham, would later serve in the Privy Council of George V, accompanying the King-Emperor on his Indian tour in 1911.

10. The Marquis de Soveral See page 83.

11. Mr Leonard Brassey Leonard Brassey, later 1st Baron Brassey, was a grandson of the railway magnate Thomas Brassey. In 1894 he married Lady Violet Gordon Lennox, daughter of the 7th Duke of Richmond. His sister Hilda married the future 8th Duke of Richmond in 1893.

12. Count Benckendorff See page 83.

13. General Oliphant General Sir Laurence James Oliphant, KCB, KCVO, 31st Chief of Clan Oliphant, was a Scottish-born guards officer who at this time was Major-General commanding the Brigade of Guard.

14. Mr Arthur Coventry Unknown house guest, misidentified as Mr A. Courtney in reports at the time.

15. Lord Berkeley Paget As a younger son of the 2nd Marquess of Anglesey and a cousin of the Duke of Richmond, Paget would doubtless have watched with horror the scandalous antics of his younger relative, the wild, profligate and cross-dressing 5th Marquess, “Toppy”, who died in 1907.

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16. Sir John Cotterell Bt. Sir John Cotterall, 4th Baronet, was the son of Whig politician Sir Geers Cotterell and son-in-law of the host, the Duke of Richmond.

17. Sir C. Cust Sir Charles Leoopold Cust, GCVO, was the 3rd and last Baronet of Leasowe. A naval captain, he would later become an Equerry in Waiting to George V. 18. Viscountess Falmouth The daughter of a Welsh landowner rich from his slate quarries, Katherine Douglas-Pennant was the wife of the distinguished soldier Evelyn Boscawen, 7th Viscount Falmouth.

19. Mr Guy Nevill A captain in the Scots Guards, Nevill later succeeded his uncle as 4th Marquess of Abargavenny and would serve as a JP and Deputy Lieutenant for Sussex.

20. The Hon. Mrs George Keppel See page 85.

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21. Lady Muriel Beckwith Born Lady Muriel Gordon Lennox, the daughter of the 7th Duke of Richmond, Muriel, whose wit eased many a difficult situation, would later write a fascinating memoir of life at Goodwood and Gordon Castle at this time – and several recipe books.

22. Lady Evelyn Cotterell Born Lady Evelyn Amy Gordon Lennox, the 7th Duke of Richmond’s daughter and wife of Sir John Cotterell, Lady Evelyn was a society beauty whose looks were captured by the fashionable portrait artist of the Edwardian era, Philip de Lázló.

23. Countess Benckendorff Born into the aristocratic Shuvalov family, Countess Sophie, wife of the Tsar’s ambassador to London, escaped the fate of many of her class after the Russian Revolution of 1917. She later illustrated Maurice Baring’s children’s book, Forget-me-Not and Lily of the Valley.

24. King Edward VII See page 82.

25. Lady Helen Gordon Lennox Daughter of the 7th Duke of Richmond, Lady Helen would marry Earl Percy, later Duke of Northumberland, in 1911. She was Mistress of the Robes to Queen Elizabeth, later the Queen Mother, from 1937 to 1964.

26. The Countess of Ilchester Lord Ilchester’s wife was born Lady Helen Vane-TempestStewart, daughter of the 6th Marquess of Londonderry. The Ilchesters’ London property, Holland House, was bombed during the Blitz. Its grounds became Holland Park.

27.The Marchioness of Londonderry See page 85.

28. The Countess Cadogan The daughter of the Earl of Craven, Lady Beatrix Jane Craven married the 5th Earl Cadogan, whose Cadogan Estate owns much of Chelsea and Knightsbridge to this day. In the 1890s the couple was part of the Marlborough House Set around the future king. They would have nine children.

29. Lord Lovat Major-General Simon Joseph Fraser, 14th Lord Lovat, was Chief of Clan Fraser and had a long and distinguished military career spanning from the 2nd Boer War to the First World War and beyond.

30. Lord Esmé Gordon Lennox A serving officer in the Scots Guards and the second son of the 7th Duke of Richmond, Lord Esmé would ultimately reach the rank of Brigadier-General.

31. Lord Cardross Ronald Douglas Stuart Mar Erskine, Earl of Buchan, was styled as Lord Cardross between 1898 and 1934. He gained the rank of Lieutenant in the Scots Guards, and fought in the Boer War and First World War. 32. Mr William Beckwith William Malebisse Beckwith was a major in the Coldstream Guards who owned a country house in Shropshire. He was married to Lady Muriel Gordon Lennox. They had five children before divorcing in the early 1930s.

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N OT J U S T AN OT H E R S PO RT S CAR. T H E OT H E R.

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calendar Blink and you'll miss 'em. Festival of Speed brings together some of the rarest, fastest and most exotic sports cars around

HIGHLIGHTS MARCH - JUNE

March 27 MOTHER’S DAY LUNCH Treat your mum to a delicious lunch at The Kennels.

April 29-30

HORSE RACING SEASON OPENER Goodwood gallops into its first fixture of the British Flat Racing season with two days packed full of behind-the-scenes experiences, including a complete intro to racing.

June 3, 10 and 17

THREE FRIDAYS NIGHTS Featuring world-class DJs, mesmerising laser shows and an electric atmosphere, our racing-lovers-turned-partygoers can look forward to the return of 3FN. June 5

April 9-10

79TH GOODWOOD MEMBERS’ MEETING Our historic motorsport season-opener returns to its rightful place at the beginning of spring.

April 13

May 1

BREAKFAST CLUB: SUPERCAR SUNDAY Celebrating the best supercars and hypercars in the world.

The perfect day out for the whole family, from free fairground rides and live music to joyous Jubilee celebrations, everyone is guaranteed to leave with a smile on their face.

May 20-21

MAY FESTIVAL

Make the perfect wreath ahead of the Easter weekend.

Expect high-octane horse-racing action across two stellar days, where the best in the sport compete in some of the most valuable racing of the season.

April 27

May 28-29

FAULTY TOWERS DINNER

GOODWOOF

Straight from London’s West End, the international comedy sensation comes to The Kennels.

The inaugural celebration of all things canine will be a treat for hounds and their humans.

EASTER WREATH MAKING

FAMILY RACE DAY

June 23-26

FESTIVAL OF SPEED The world’s greatest motoring garden party returns. This year's theme, The Innovators – Masterminds of Motorsport, shines a light on human stories of engineering ingenuity.

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CALENDAR

May 28–29

GOODWOOF

On May 28 and 29, 2022, The Kennels will be taken over by dogs of all shapes, sizes and breeds, with the launch of Goodwoof, a new event celebrating everything we love about our four-legged friends. Goodwoof, presented by MARS Petcare, is not just a dog show, but what your dog has always dreamed of: a canine extravaganza in the rolling fields of one of Britain’s most beautiful country estates. Devised by real dog lovers and delivered with the charm, wit and style for which Goodwood’s other world-leading events are renowned, Goodwoof will feature a fantastic lineup of activities to entertain dogs and their human companions. From competitions and demonstrations to play and pampering, from trails and treats to wellness and nutrition, it will be a feast of family-friendly fun, equally suited to those with dogs and those without.

Tickets are on sale, with adult prices starting at £30, those aged 12 years and under go free. Please call 01243 755055 or visit Goodwood.com/goodwoof for tickets and further information.

Above: guests at Hound Lodge, the estate's private sporting lodge.

Below: Goodwoof, a canine extravaganza, will feature a "Barkitecture" competition judged

by Kevin McCloud

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W W W. R I M A C - A U T O M O B I L I . C O M

A FORCE LIKE NO OTHER

OFFICIAL RIMAC PA R T N E R I N THE UK

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CALENDAR

June 23–26

Festival of speed

Firmly established as the world’s greatest celebration of motorsport and car culture, the Festival of Speed, presented by Mastercard, increasingly looks towards the technology of tomorrow. We are at a pivotal moment in the evolution of mobility, with electrification, autonomy, personal flight and other exciting developments set to have a profound impact on the way we lead our lives. With this in mind, this year’s theme will be The Innovators – Masterminds of Motorsport, focusing on the human stories of engineering ingenuity everpresent throughout motorsport’s history and shining a light on the future as visionaries in the field play an essential role in pioneering new technologies.

Returning for its fifth year, Future Lab will once more present Technology for a Better World, featuring incredible exhibitors from the worlds of mobility, robotics, aviation, healthcare and more. Last year saw the launch of Electric Avenue - The Road to 2030, the new home for electric mobility, which will be showcased again this year. Visitors can ask questions of the experts, inspect the latest EVs and learn about the benefits associated with switching to electric. Enjoy all this, plus the usual excitement of F1 legends and the most fabulous cars on the planet, and save on tickets bought before March 31, 2022.

Goodwood.com/motorsport/fos

From Top: an autonomous concept car at Future Lab; pedal to the metal ahead of the hillclimb at FOS; all smiles in the paddocks

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finish The delicious dish photographed here is shakshuka, a Middle Eastern vegetarian recipe served at lunch as part of the Goodwood Health Programme, made using the free-range eggs from Hallgate Farm photographed at the start of the magazine. Eggs are packed with energy-giving nutrients and also contribute to a healthy digestive tract, being easier to digest than other high-protein foods such as meat or legumes. Chickens (and eggs) are close to our hearts here at Goodwood. The Duke of Richmond's mother, Susan, Duchess of Richmond has been a patron of the British Hen Welfare Trust since 2005 and has rescued many former battery hens. "I have taken several small groups of battery hens from the Trust and have thoroughly enjoyed watching them blossom into confident and precocious characters," she says. "These unassuming birds burst into life once they are given the opportunity; their individual personalities are captivating and can become great time wasters!" An uplifting story of spring renewal if ever there was one.

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LAP OF HONOUR

The Austrian skydiver and BASE jumper is best known for his 2012 feat as part of the Red Bull Stratos project, which saw him jump from a helium balloon in the stratosphere and land in New Mexico. This broke several skydiving records, and he became the first person to break the sound barrier outside a vehicle. Here he talks about flying, jumping – and visiting Goodwood

Felix Baumgartner WHEN I WAS LITTLE, I spent my time trying to get to the top of trees. I have two drawings from the age of five of me hanging underneath a balloon next to the sun. You wouldn’t believe that 38 years later I would actually be doing that!

FLYING AND RACING CARS definitely appealed to me, but my parents weren’t rich so they weren’t an option. Skydiving gives the feeling of flying and speed without being expensive.

DURING TRAINING FOR RED BULL STRATOS I had to work with military people, so my six years in the military and engineering background was invaluable. I had to be part of the building and development, because it was my life on the line. The more knowledge you have about something, the more confident you can be.

THE ONLY THING YOU CAN’T LEARN is how you feel when you reach supersonic speed. Everything else – the launch procedure, how it feels in the capsule, how you get out of the capsule, the 40 steps before you jump in perfect sequence – you’ve done before. And you only get better.

WE THOUGHT OF EVERYTHING, but no one considered the spacesuit. Once they close the lock, you’re completely sealed from the outside world and all you can hear is yourself breathing. For hours! I’m not claustrophobic, but it drove me nuts. Once, after seven hours in the suit, I was 100 per cent sure that I couldn’t do the jump. So I flew home.

THE RED BULL PERFORMANCE COACH had a psychiatrist who worked with top athletes.

He asked me, “Why are you doing this?” and “How do you want to be remembered?” He said: “You want to be the first human to break the speed of sound, and the only way to do it is by wearing this pressure suit – you need this suit. Every part of that suit turns you into a superhero. It is made for you. Nobody else.”

It was amazing: by approaching the problem from a different angle, I could solve it.

I RARELY SKYDIVE NOW; I did it for over 36 years. Now I fly helicopters. I got my licence in 2006, and learned to be an aerobatic helicopter pilot two years ago. It’s just like a dance: at first it’s two-dimensional, but once the steps are memorised you can focus on your face, expression, the relationship with your partner, and it becomes threedimensional. It’s the same with helicopter aerobatics. If you do what the aircraft allows you to do it’s really not dangerous at all.

I REALLY ENJOY DRIVING THE TRACK at Goodwood, in different cars, in the same conditions. Nothing beats the precision of a McLaren. I’ve also taken a Rolls-Royce around the track – that was different, but great in its own way.

GOODWOOD TO ME IS THE DUKE AND DUCHESS; they’re the heart and soul of the estate. It starts with the family and spreads out all around. I felt instantly connected when I met them. When I nominated The Duke for a Living Legends of Aviation award, he had to come to Austria and I picked him up in the helicopter. I’d never seen Charles so relaxed and in a simple shirt before.

ILLUSTRATION BY ELIZABETH MOCH

MY BACKGROUND IS VERY HUMBLE; my father was a carpenter and my mother a housewife who was born on a farm with 15 siblings.

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Cars Fashion Farming Vintage Dogs CarsHorses Tech Food & Living the life

Fashion Farming Design Dogs Horses Vintage Tech Food & Living the life

The chicken and the egg £10.00

Spring 2022

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