GOODWOOD | ISSUE 13

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Autumn 2019 Winter 2018/19

Rock Gameon on

A FA M I L Y S T O R Y

YAS M I N A N D A M B E R L E BON W EAR A S H O K A ®

Pilot’s Watch Chronograph Spitfire. Ref. 3879:

inspired by classic military standard watches such as the Mark XI navi-

Only rarely do form and function blend as magically as in the design of ven aircraft outstanding flying characteristics, but were also responsible

gation watch we started producing in 1948 for the British Royal Air Force. More than 80 years after its first flight, we are now sending the Spitfire on its longest-ever journey: Steve Boultbee Brooks and Matt

for its perfect silhouette. Like the Spitfire, our eponymous watch line

Jones are setting off on an adventurous circumnavigation of the globe in

the Spitfire. The elliptically shaped wings not only gave the propeller-dri-

makes no compromises when it comes to engineering and design. For

their Silver Spitfire. It will take the British airborne icon on a flight of

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43,000 kilometres, touching down in 30 countries. There’s no dream too

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IWC SPITFIRE. THE DREAM TAKES FLIGHT.

LETTER FROM THE DUKE OF RICHMOND

a year to remember The year 1969 was particularly eventful. Man walked on the Moon, The Beatles

played their last ever public performance, thousands camped out at Woodstock, Concorde’s first test flight took place, Michael Caine pulled off The Italian Job (with a little help from some Minis) and Michael Schumacher was born. Fifty years on, Revival will celebrate several of these landmarks, and many more besides. Not only will all of The Beatles’ Minis be on show, but we will also be displaying George Harrison’s original electric guitar – the one he played at the Cavern Club and in Hamburg, and photographed on our cover – as part of Revival’s pop-up version of the fascinating Seven Decades show. Read about the guitars and the show on pages 12 and 89.

On to sartorial matters – we are delighted to showcase the brand-new Goodwood X Connolly collection in this issue (page 54), which was inspired by my grandfather. Connolly is a British brand with impeccable automotive credentials, so it was a pleasure to collaborate with them. Still on matters of style, on page 50, Hannah Betts writes in praise of the enduring power of red lips (much on display at Revival) and we showcase the work of young fashion designer Nabil Nayal (page 70), whom we commissioned to create three original pieces inspired by Goodwood’s sporting heritage.

Elsewhere in the issue, we visit the Paris atelier of Hermès Bespoke, where the brand’s custom creations are made, we trace the history of the Cooper Car Company, and go even further back in time to recount William Blake’s time in Sussex and his encounter with my ancestor, the 3rd Duke of Richmond. And finally, what better way to end an issue inspired by 1960s pop culture than reading about a life of cars, collecting and drumming with Pink Floyd’s Nick Mason.

The Duke of Richmond

6

REVIVALISTS

TIME , A HE RMÈS OB JECT.

Arceau, L’heure de la lune Time flies to the moon.

7

CONTRIBUTORS

The front cover shows the 1958 Futurama guitar played

by George Harrison in the early years of The Beatles, when they honed their skills in Hamburg and at the Cavern Club. Cover, Start and Finish photographs by Louisa Parry

Nilgin Yusuf

Will Hodgkinson

Nilgin is a former fashion editor of The Sunday Times and creative director of the London College of Fashion. Over the years she has written widely on style, and curated a number of exhibitions.

The author of two upcoming books on fashion film and journalism, for us she interviews designer Nabil Nayal.

Will is the chief Rock and Pop critic of The Times. His books include Guitar Man, Song Man and The House Is Full Of Yogis, a childhood memoir about his unusual upbringing after his father joined a spiritual cult.

Here, he writes about the making of the Beatles’ famous Abbey Road album cover, 50 years on.

Jeremy Hackett

Mark Crosby

Jeremy is the eponymous founder of British menswear brand Hackett, which started life in 1983 with a store on the King’s Road.

Renowned for his views on taste and men’s style – his book, Mr Classic, became a bible on the subject – he is also a keen dog-lover. In this issue, he writes in praise of the Sussex Spaniel.

Mark is a leading William Blake scholar, based at Kansas State University in the US. He is a contributor to countless journals and books on the subject and is currently finishing a monograph about Blake and patronage. For us, he writes about Blake’s time in Sussex – and the poet’s encounter with the 3rd Duke of Richmond.

Laura Lovett

Stephen Bayley

Laura Lovett was formerly deputy editor of The Times Luxx and features editor of Robb Report UK. A journalist specialising in luxury travel, watches and jewellery and style, in this issue she writes for us about the return of the headband – as seen on a catwalk near you, from Prada to Chanel.

Stephen is a leading design writer and critic who was the first chief executive of the Design Museum. A contributor to GQ and CAR Magazine, here he writes about the cultural impact of the automobile – in light of the V&A’s new exhibition, Cars: Accelerating the Modern World.

Editors Gill Morgan James Collard Art director Sara Redhead

Sub-editor Damon Syson

Picture editor Emma Hammar

Design Luke Gould Lesley Evans

Project director Sarah Glyde

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

Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Uncommonly Ltd, Thomas House, 84 Eccleston Square, London SW1V 1PX, +44 (0) 20 3948 1506. For enquiries regarding Uncommonly, contact Sarah Glyde: sarah@uncommonly.co.uk

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© Copyright 2019 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.

CONTENTS

Shorts

14 The name’s Moss…

Stirling Moss

The quirky connections between motor-racing legend Sir Stirling Moss and 007 16 Top dog Menswear entrepreneur Jeremy Hackett sings the praises of the Sussex Spaniel 18 Memory lane It was 50 years ago today… well, more or less. We look back at The Beatles’ famous Abbey Road cover photo 20 The game changers Founded in a Surbiton garage, the Cooper Car Company went on to transform the world of motorsport

25 I'm with the band The Alice band – in a variety of bold new incarnations – is this season’s catwalk staple 26 A day at the races Remembering the artistic genius of Polish-born illustrator Feliks Topolski 28 Tough stuff Meet the founders of Vollebak, making apparel for “the most hardcore guys on the planet” JAMES MCNAUGHT FOR MR PORTER

START

22 Weaving magic It’s official: the centuries-old craft of tapestry is having a moment

30 Liquid asset We go back to the source of South Downs Water, provider of Goodwood’s bottled H20 32 Leading the charge The Arc Vector electric motorbike is set to be the most exciting thing on two wheels

44 Green and pleasant land

How a pastoral three-year sojourn on the Sussex coast influenced artist and poet William Blake’s later work 50

54

From top: sporting the new Goodwood X Connolly menswear collection at the Motor Circuit (p54); one of the Anonymous Project's fascinating Kodachrome images (p64)

Features

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How cars changed the world

From architecture to fashion, the invention of the car has had far-reaching effects on modern culture

40 Night vision

Tiffany Francis, Forestry England’s writer in residence, explains her fascination with nocturnal landscapes

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Simply red

87

Deconstructing the historic significance of that perennial favourite, red lipstick

Dream team Highlights of the new Goodwood X Connolly menswear collaboration

64 The way we were The Anonymous Project – an extraordinary collection of vintage Kodachrome slides 70 House style

Award-winning designer Nabil Nayal unveils his couture pieces inspired by Goodwood’s sporting heritage 77

84 Inside job Behind the scenes at the Hermès Bespoke workshop, home of the world’s most luxurious car interiors

Mini memories Launched 60 years ago, the Mini went on to define the spirit of the Swinging Sixties

Calendar The unmissable events at Goodwood this season, from Revival to Christmas Feasts

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Lap of honour Pink Floyd co-founder Nick Mason on drumming, motor-racing, architecture and owning a Ferrari 250 GTO

finish

CALIBER RM 07-01

RICHARD MILLE BOUTIQUE LONDON 4-5 OLD BOND STREET, MAYFAIR Tel: 0207 1234 155 www.richardmille.com

START

This Fender Broadcaster guitar was made in 1950 – a year as midcentury as it gets, during which the Korean War ignited, Shirley Temple retired and TS Eliot spoke out against the new medium of television. The Cold War was at its chilliest, but the world of popular music was about to hot up with the emergence of this, the world’s first commercially successful, solid-body electric guitar – solid, because electricity had taken over from the soundboard in the role of amplifying sound. And how. For as black Americans had migrated from the rural South – taking the Blues with them – to northern cities, the big, noisy, urban music venues they found there demanded sound amplification. In 1950, Leo Fender would ride to the rescue. But as the Seven Decades pop-up (p89) at this year’s Revival makes clear, this guitar was just the beginning of the story.

SHORTS STIRLING MOSS

THE NAME’S moss… stirling moss He may not carry a gun in his glove compartment but there are some quirky connections between racing legend Sir Stirling and a certain James Bond

Words by James Collard

Fame arrived for both the spy and the driver in the early 1950s. The publication of Casino Royale introduced James Bond to the world in 1953. Fleming’s books, of course, became an almost instant success, but it’s a sign of Moss’s celebrity during this era that an unpublished (and never filmed) story by Fleming, Murder on Wheels, centred on a plot by SMERSH, the evil Soviet counterintelligence agency, to bump him off while he raced at the Nürburgring circuit in Germany. In the story, James Bond rode to the rescue, or rather drove to it – having been taught to race by Moss, this time driving a Maserati.

Although the plot never made it to the movie screen – or indeed to the “Jimmy Bond” US TV series that Fleming was working on before the film franchise took off – it became the basis for Anthony Horowitz’s Trigger Mortis, commissioned by the Fleming estate and published in 2015 (with the racing driver renamed as Lancy Smith). But Moss’s biggest 007 moment came in 1967 with his cameo performance in the spoof Peter Sellers Bond movie, Casino Royale, playing a chauffeur. True, his role was brief – “Follow that car!” he was instructed – and uncredited. But he was in good company, as the movie also contains uncredited performances from none other than Peter O’Toole, Anjelica Huston and Geraldine Chaplin.

Macintyre adds that Fleming was himself a car aficionado: “He bought a Daimler with the money from the film rights to Casino Royale and then a vast American car called a Studillac, a Studebaker with a Cadillac engine, which he test-drove at 80mph before being pulled over by traffic cops.” Now that’s something that never happened to Bond – or Moss.

Licensed to thrill: Stirling Moss (right and opposite) gets ready for action

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GETTY IMAGES

One might be a fictional hero, the other a living legend, but 007 and motor-racing icon Sir Stirling Moss have much that connects them. Aston Martins, for a start. Moss raced the DBR1, famously winning the World Championship for the marque some 60 years ago this year. And Aston Martin has been James Bond’s primary on-screen car of choice since the release of Goldfinger in 1964, when Sean Connery drove a DB5 – though Bond aficionados would be quick to point out that in Ian Fleming’s 1959 novel of the same name, the secret agent drove an earlier model. According to Ben Macintyre, author of For Your Eyes Only: Ian Fleming and James Bond, 007 drove only one Aston Martin in the books themselves: “It was in Goldfinger – a grey DB Mark III from the secret service pool with headlights that change colour, a reinforced bumper, a radio receiver and a Colt .45 in a secret compartment. I don’t think Stirling Moss ever drove with one of those.”

The world’s most famous spy and the racing driver also hail from the same generation. The cinematic Bond is eerily ageless, as he must be in order to keep the franchise in fine fettle. His novelistic year of birth, however, is generally calculated as either 1920 or 1921, while Moss was born in 1929, and turns 90 this month – many happy returns.

SHORTS STIRLING MOSS

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SHORTS THE SUSSEX SPANIEL

One man and his dog: Jeremy Hackett with Muffin

TOP DOG Low-slung and slow-moving, the Sussex Spaniel might lack the vigour of its sportier cousins, but it’s faithful and loving – and much admired by those in the know.

Menswear entrepreneur Jeremy Hackett extols the virtues of this endangered breed Words by Jeremy Hackett

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My love of the Sussex Spaniel breed began more than 20 years ago, when, on a whim, I visited Battersea Dogs & Cats Home for the first time and fell for a very sad-looking dog. They told me it was a Sussex Spaniel – a breed I’d never heard of. Not many people have, I came to realise. Charley had been badly treated and abandoned and had already been at Battersea for three months; every time she was re-homed she ended up being brought back, as she was too difficult to handle. I initially decided not to take her, but she preyed on my mind, so I asked to take her on trial. In fact, I took her to Badminton Horse Trials, where she behaved perfectly and became my constant companion until she passed away at the grand old age of 17. Today I own two, a mother and son called Muffin and Harry.

The Sussex Spaniel dates back to the early 1800s, when they were first bred by a sporting gentleman called Mr Fuller, who owned a large estate at Rose Hill in Sussex. He wanted a gun dog that would work in thick undergrowth, with large feet to cope with the heavy Sussex clay. By mating a variety of spaniels and hounds, he came up with the Sussex we know today.

The Sussex is slow, sturdy and low to the ground, with a broad chest. It’s a persistent hunter and when it finds its scent, it sounds its voice, otherwise known as “giving tongue”.

Remarkably, the tone varies according to whether it has found fur or feather. My neighbour, the writer Will Self, described them eloquently in his Evening Standard column as “low-slung silky hounds”. He also described the Sussex Spaniel as “rarer than a giant Panda”, which isn’t so far from the truth. Numbers have dropped dramatically since World War II, with only 50 puppies born on average each year, compared with 35,000 Labradors, so the Kennel Club has put them on the endangered list.

The Sussex is a friendly and loving breed but they do need firm handling and are better suited to experienced owners.

They can be stubborn and possessive and need to be socialised from an early age, but the Sussex Spaniel Association is excellent at advising people who are looking to own one. That said, Muffin and Harry are (on the whole) very well-behaved and have starred not only on my Instagram feed but in photoshoots for Hackett. Likewise, I’m sure they are very proud to be members of The Kennels at Goodwood – where they have their own monogrammed dog bowls – whereas I have to make do with plain china. It’s often said that owners look like their dogs. Well, my two are noble, handsome creatures.

Oh, to have had a treehouse – the ultimate secret lair, the den of all dens, perfectly out of parental earshot. Alas, for many of us, treehouses were the stuff of fiction – from Peter Pan to The Swiss Family Robinson. But if you missed out on having a treehouse as a child, what’s to stop you having one now, especially as there are so many innovative designs out there?

Bristolian Luke Leppitt mastered the art of creating these arboreal dwellings while living with the Tree House Community in Auroville, India. Founded in 1968 by the spiritual leader Mirra Alfassa, aka “the Mother”, Auroville is a utopian township – the biggest of its kind in the world – and one that many a backpacker has visited while passing through Pondicherry. Leppitt stayed there for three years, studying sustainable forest management and treetop construction. During that time, he was part of a team that built 30 treehouses around Auroville, including, he says proudly, a palatial four-storey number in mahogany.

Since returning home, Leppitt has set up Treetop Co, a construction company with treehouses at its heart. It seems he’s very much in tune with an architectural zeitgeist. In Sweden, the acclaimed Treehotel has seven avant-garde treetop suites.

In Costa Rica, Finca Bellavista is a treehouse community set in 600 acres of rainforest, connected via zip wires and suspension bridges. And in America, treehouse expert Pete Nelson has built spa retreats, cottages and breweries over the course of 11 series of Treehouse Masters on US television network Animal Planet.

“The main idea of the business was to create sustainable housing – treehouses, log cabins, stilt houses, that sort of thing,” explains Leppitt. “So I thought, why not build something a bit different as a way of kick-starting the project?” Two months later he revealed Treetop Co’s signature The Chrysalis, the UK’s first mobile treehouse pod. The company’s ethos is never to drill, bore or screw into a tree, because, as Leppitt explains, “Holes in trees cause rot; the more holes, the more rot.” Instead he carefully places his structure within the tree, or in the case of The Chrysalis, hangs it from a sturdy branch.

Now that our imaginations are running wild, what sort of tree works best? “There’s an abundance of ancient oak trees,” says Leppitt, “and they also have the country’s hardest wood.

They’re a true symbol of England. Beautiful, gnarly old trees.”

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memory lane Fifty years have passed since the Beatles released Abbey Road, yet fans still flock to that fabled north London zebra crossing to recreate the album’s cover – which became the focus of a bizarre conspiracy theory

It is a cover image so iconic, you can visit the zebra crossing outside Abbey Road Studios in St John’s Wood at any time and you’ll be sure to find four tourists irritating drivers by recreating it. Abbey Road was once just a dull residential street in an upscale part of Northwest London. Now it is forever associated with The Beatles’ penultimate album, recorded after Let It Be but released before it… although it very nearly wasn’t the case.

The original title for Abbey Road was “Everest”, named after sound engineer Geoff Emerick’s brand of cigarettes. There were plans to shoot the band at the foot of Mount Everest, but no one could be bothered to travel to Nepal so Paul McCartney sketched up a concept that involved shooting them outside their regular studio instead. John Kosh, the art director of their record label, Apple, had the idea of featuring The Beatles without album title or band name. By 1969, he said, everyone knew what they looked like. And so, at 11.35am on August 8, photographer Iain Macmillan was given 10 minutes to complete the shoot.

He stood on a stepladder while police held up the traffic.

Perhaps the image would not have been so universally, instantly impactful had it not been fuel for the “Paul Is Dead” conspiracy theory bouncing around American college campuses at the time. McCartney (or rather, his double) holding a cigarette in his right hand when he was left-handed and being barefoot, Lennon dressed in white and therefore leading a funeral procession, and the number plate of a VW Beetle – 28IF – supposedly McCartney’s age if he were alive (even though he was actually 27), were all taken as signs of McCartney’s death.

Paul died in a car crash in 1966, the theory claimed, and the Abbey Road cover featured a lookalike. In fact, McCartney had been out of view because The Beatles were splitting up, he was estranged from his bandmates, and he was trying to recover some semblance of normality with his young family on a farm in Scotland. So fervent was Beatles obsession in 1969, however, that every aspect of Abbey Road’s cover was mined for symbolism.

Why does it work? Perhaps it’s the juxtaposition of the four most remarkable young men in the world crossing an unremarkable road on a sunny day in London. Most of all though, it’s the simplicity of the photograph, which has been copied by everyone from Booker T. & the M.G.’s to The Red Hot Chili Peppers to an unending stream of tourists. The music’s pretty good too.

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ALAMY

Words by Will Hodgkinson

SHORTS ABBEY ROAD

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SHORTS COOPER CAR COMPANY

Below and left: track-testing a Cooper Bristol 2-litre car at Goodwood in 1953

Dismissed by Enzo Ferrari as mere “garagistes”, the Cooper Car Company nevertheless had a lasting influence on motorsport and racing-car design.

We trace the rise and fall of the Surbiton-based business born out of a passion for hillclimbing

Words by Peter Hall

A “make do and mend” mentality was one of the few resources freely available in post-war Britain, so in June 1946, when motorsport enthusiasts John Cooper and Eric Brandon decided to get into hillclimbing – that is, racing cars up hills – they used whatever they could find. With John’s father Charles, owner of Cooper’s garage in Hollyfield Road, Surbiton, they set about building a lightweight machine using the front suspension assemblies from two scrap Fiat Topolinos bolted to each end of a simple ladder chassis and a 500cc JAP motorcycle engine mounted behind the driver, allowing chain drive to the rear axle.

Five weeks later, John drove the car at Prescott Hillclimb, little realising that he was kick-starting a motorsport revolution.

Despite numerous teething troubles – the engine mountings had to be reinforced with agricultural plough handles – the miniature racer showed promise. The mid-engined layout was purely pragmatic, but concentrating the weight between the front and rear wheels also gave the car excellent balance. So many enthusiasts wanted one that in 1947 the Cooper Car Company was founded. It would soon become the world's largest specialist builder of racing cars. The founders hired engineer Owen “The Beard” Maddock, coincidentally the son of the architect who designed the Surbiton factory, whose lateral thinking and draughtsmanship were increasingly valued as technical drawings replaced sketches on the walls.

Cooper supplied cars for the likes of Stirling Moss, Peter Collins, Ken Tyrrell and Bernie Ecclestone, and dominated the new 500cc F3 category. One even qualified for the 1950 Monaco

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GETTY IMAGES

the game changers

Grand Prix. For 1952, it produced a front-engined F2 car that gave Mike Hawthorn two wins and a second place at Goodwood’s Easter Monday meeting and fourth at the Belgian GP, but the advantages of putting the engine behind the driver were fully realised in 1955 with the Coventry Climax-powered “Bobtail” sports car. Like the 500, it offered superior handling, so a single-seater version was built for F2. A few eyebrows were raised when Cooper works driver Jack Brabham took this T43 to sixth place at the 1957 Monaco GP (pushing it over the line after running out of fuel) but when Moss and Maurice Trintignant used similar cars to win the 1958 Argentine and Monaco GPs, the racing world sat up and took notice.

In 1959, Cooper asked Climax to supply a 2.5-litre engine for F1 and Moss drove the resulting T51 to its first victory in the Glover Trophy at Goodwood. Brabham went on to win the F1 World Championship (despite again having to push his car over the line at Sebring) and repeated the feat in 1960. As midengined machines were clearly lighter, nimbler and more aerodynamic, Cooper’s revolution was unstoppable; Enzo Ferrari disparaged them as mere “garagistes” but teams such as Lotus and BRM refined Cooper’s approach and established a British technical dominance in F1 that persists to this day.

As the competition intensified, Cooper’s fortunes declined and there were further setbacks when John was badly injured in 1963 and when Charles died in 1964. The F1 team was sold in 1965, struggling on until 1969, while the factory was leased to the Metropolitan Police in 1968 (it is now a Porsche dealership).

However, there was another legacy. Following the 1959 launch of the Alec Issigonis-designed Mini, John Cooper had conceived a competition version with a bigger engine and disc brakes, and persuaded not only BMC but his friend Issigonis to develop it. The Mini Cooper and Cooper S appeared in 1961 and 1964 respectively and enjoyed decades of success in motorsport, also carving a cultural niche for themselves in the 1969 film The Italian Job. Today, 60 years since they distinguished the works F1 cars from all the other British Racing Green machines on the grid, Cooper’s twin bonnet stripes are still a common sight – in Surbiton and beyond – on BMW’s re-imagined MINI.

SHORTS NIGEL MANSELL CAR

LONDON · EDINBURGH · LEEDS 21

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SHORTS TAPESTRY

Weaving magiC With contemporary artists embracing its tactile qualities, tapestry has made a notable return to major art fairs. So why the continued fascination with this centuries-old craft?

Words by James Collard

“Artists respond to the materiality of it,” explains Philip Sanderson, master weaver at Sussex’s West Dean Tapestry Studio, when asked to explain the appeal to contemporary artists of tapestry-making. For this is an ancient craft, from the tapestries hung on the draughty walls of medieval castles to the scenes from Don Quixote, commissioned by Louis XV from the royal tapestry factory of Gobelins – exquisite works that found their way to Goodwood House after they proved surplus to the French king’s requirements.

So it seems odd to be saying that tapestry is having a moment. But it is. Tapestry is highly visible as a collectible at art fairs such as Frieze and PAD – and a growing number of contemporary artists are drawn to the form. Witness this piece, The Fallowfield – the fruit of a collaboration between artist Eva Rothschild, Sanderson and Ellie Rudd, his colleague at West Dean, which has also worked with Tracey Emin and TurnerPrize-winning Martin Creed. And not to forget Grayson Perry, whose powerful series Julie Cope’s Grand Tour is currently on show at Edinburgh’s Dovecot Studios.

Like West Dean, Dovecot is one of a small number of schools that kept the flame alive during the lean years – having been founded in 1912 by John Crichton-Stuart, Marquess of Bute, a wealthy man who was looking for tapestries to grace the walls of his many grand houses.

Today, the work of the weavers at West Dean and Dovecot is more likely destined for a contemporary setting – the Tate, perhaps, or the modernist interior of a collector’s home. But wherever they end up, tapestries add richness, texture and colour. As Sanderson points out, “If you put tapestries in a contemporary space, you get this very nice marriage of the tactile with all those smooth white surfaces. It’s wonderful.”

The Fallowfield (pictured, left) by Eva Rothschild was woven at West Dean Tapestry Studio by Ellie Rudd and Philip Sanderson. Julie Cope’s Grand Tour is at Dovecot Studios until 2 November. You can meet the weavers at West Dean Tapestry Studio on Wednesdays from 1.30pm to 2pm. Call 01243 818233 to arrange an appointment.

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SHORTS RETURN OF THE HEADBAND

I'M WITH THE BAND From runways to red carpets, headbands are everywhere. Plain, studded or jewelled, they're autumn’s ultimate style statement Words by Laura Lovett

GETTY IMAGES

We are in the midst of a hair accessory renaissance. While glitzy bejewelled hair barrettes were the toast of the summer season, the headband looks set to reign supreme this autumn. Far more than merely a device to keep your hair off your face, headbands in every hue and fabric – satin, leather, padded, bejewelled, studded, you name it – were seen on the Autumn/Winter catwalks, with Prada and Dior leading the way.

The Alice band, as it’s sometimes called, first became popular after Lewis Carroll’s eponymous heroine was depicted wearing one in Sir John Tenniel’s 1871 illustrations for Through the Looking-Glass. Its popularity has waxed and waned over the years, but this most ladylike of accessories roared back into fashion in the 1960s, when everyone from Brigitte Bardot to Jackie O sported one.

This was followed by another brief lull, but the 1980s saw a return to favour for the headband when Sloane Rangers would wear their sumptuous velvet numbers pushed forward to exaggerate a puffy bouffant. Royalty has also played its part, with Grace Kelly, Princess Diana and Sarah Ferguson all rallying to the cause. Today, the Duchess of Cambridge has taken up the mantle and adopted the look as her own.

In a hyper-visual age, “look-at-me” headgear delivers instant impact and adds an instant dash of vintage allure.

And today’s style-setters are proving that bands aren’t just for little girls and princesses. Leading the charge for the headband’s new ageless credentials are Rachel Weisz, 49, who wore an elegant beaded style made from two Edwardian-era Cartier diamond and platinum brooches to this year’s Oscars, and Uma Thurman, 49, who topped off her sequined Prada gown with a sleek headband at the Paris Fashion Week Boucheron party.

Elizabeth von der Goltz, the global buying director at Net-a-Porter, which stocks so many hair accessories that the site had to add a specific navigation bar for the style, revealed that headbands have proven to be such a popular item, the site has increased its order by 90 per cent compared with last year. Bestselling styles from designers Jennifer Behr, Suzanne Kalan and Loeffler Randall retail from around £50 for a knotted plissé-lamé band to £14,300 for an 18-carat white-gold diamond stunner.

Whether humble or glitzy, the headband is the only way to get ahead in the style stakes this season.

Get your head a round something: studded red satin runway style from Prada’s new collection

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COURTESY OF TATE IMAGES

SHORTS FELIKS TOPOLSKI

A DAY AT THE RACES This sketch by Polish-born artist Feliks Topolski provides a glorious snapshot of Goodwood life between the wars

Words by Oliver Bennett

Few images express the pleasures of the field like Feliks Topolski’s sketch Goodwood, 25-28 July 1939. The private tent bearing the name of the host, Lord Wykham, complete with hat jauntily thrown on supporting pole, frames a lost world of aristocratic languor. Indeed, beneath that wavy valance is a vignette that belongs precisely to the interwar period, with Wykham’s party of seven attended to by three staff, while in the middle the Lord himself holds court.

The exact circumstances of this antebellum sketch are not known to Goodwood House curator James Peill, and it currently resides in the Tate’s collection. But in his recently published book Glorious Goodwood (Constable, £25), Peill sets the elegiac scene well: “As the storm clouds gathered over Europe… the weather was appropriately miserable. It was therefore a relief that the sun shone for raceweek.” Tatler agreed that it was untypically sunny “for

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once”, and the only fixture missing was George VI, attending to matters elsewhere due to the dire political situation.

Topolski had arrived in England from his native Poland in 1935 to cover King George V’s Silver Jubilee and stayed, rapidly becoming intertwined with the London literati and finding favour with Graham Greene and George Bernard Shaw, who set him to work illustrating Pygmalion. Soon the Topolski name was feted by the British establishment, a tradition carried on by Feliks’ late son Daniel, who himself became a famous author, raconteur and rower.

Topolski the elder was beloved for his light and lyrical illustrative touch and he soon built up an impressive portfolio of society events. But just over a month after he drew this pen, wash and pastel jeu d’esprit, World War II began – and he found a new role as the UK’s official war artist, producing studies of the conflict, as seen in his book Britain in Peace and War (1941). Topolski returned to society life when peace was restored, finally earning British citizenship in 1947 and drawing the Coronation in 1953.

Topoloski’s illustrative reportage of British life continued after the war. In 1951 he painted the mural Cavalcade of the Commonwealth, a commission for the Festival of Britain, and from 1953 began a series called Topolski’s Chronicle, a drawing of current events released fortnightly with a nod to the chapbooks of the past. He showed this work in a studio in London's South Bank, now a bar called Topolski, a few hundred yards from St Thomas’ Hospital, where the artist died in 1989. WWII hangs over his exquisite sketch – but we should celebrate the fact that both Topolski and Glorious Goodwood survived the conflagration.

Gathering storm: racegoers enjoy Goodwood hospitality in this 1939 sketch, but WWII was imminent

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SHORTS VOLLEBAK

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tough STUFF Looking for high-performance apparel to see you through a trip across the Gobi Desert?

Vollebak could be the brand you’re after.

But be warned: you will be a guinea pig

PAL HANSEN

Words by Alex Moore

Vollebak founders and twin brothers Nick and Steve Tidball have found a niche: ultra-high-performance apparel for “the most hardcore guys on the planet”. Vollebak makes the sort of clothes you’d wear when rowing from Europe to South America, abseiling down the 3,212ft Angel Falls, running ultra-marathons through the Amazon or motorbiking across the African plains.

Vollebak’s clothes are more than that, however – they’re scientific experiments. Every Vollebak product, whether it’s a Kevlar hoodie designed to last 100 years or a solar-powered running jacket (named as one of Time magazine’s Best Inventions of 2018), is a prototype. The extreme sports fans who buy and test-run these items realise they’re early iterations of a final, far more advanced design. Nevertheless, they sell out in days.

“When they built the Bugatti Veyron, they won’t have got it right first time,” explains Steve. His brother has been called into the lab – they’ve run into difficulties on a second attempt at a jacket made from two billion glass spheres designed to imitate the iridescent wings of the Blue Morpho butterfly. “We’re building the supercars of performance clothing, so if we expect to get it right first time, we’re setting ourselves up for failure.”

Instead, they get their early versions out into the field as soon as they can, telling those who buy them to do their worst.

“We say, ‘Here’s a graphene jacket. Here’s what it does. Off you go, do what you want with it,’” says Steve. “We put it out like an R&D project and the feedback is better than anything we’d discover in a lab. One guy was freezing in the Gobi Desert, so he tied the graphene membrane of his jacket to the belly of a camel for 15 minutes. Graphene conducts heat incredibly, so that kept him warm all night, potentially saving his life.”

The mere fact that Vollebak is working with graphene – the only material to have won a Nobel Prize – is proof of the brand’s ambition. “We want to make bionic clothing. We’re not there yet, but I think we’ll get there first because we’re taking the necessary steps. Invention to commercialisation historically takes 100-150 years. Our attitude is: can it be done any quicker?”

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LIQUID ASSET The bottled water you’ll find throughout the Goodwood Estate comes from one source: South Downs Water. But this thriving business might never have come into being but for a chance remark Words by Manfreda Cavazza South Downs Water owes its very existence to a passing comment made by an elderly factory worker some 29 years ago. This third-generation family business, previously an injection moulding plastics company, was struggling to compete with the influx of cheap plastics from overseas. Will Windsor, chief executive of South Downs Water and grandson of the founder, recalls what happened next: “An old employee told my father that before he made any rash decisions, he should look at the well at the back of the factory. My father literally prized open the capped element of the well amid all the hustle and bustle of the machines and tasted the water.

It was delicious. And so the water business was born.”

Unbeknownst to the family, they were sitting on a hugely lucrative natural resource: an artesian well, 420ft underground, enriched with minerals from deep within the majestic South Downs. The water it produces is pure, filtered through layers of chalk. Being an artesian well, it doesn’t require a pump

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to bring it to the surface; the pressure within the body of permeable rock beneath it is such that it forces the water to the surface without any assistance.

It was as if the family had been blessed with their very own wishing well. “My father set about building up the water business, through blood, sweat and tears, mainly focusing on selling water-coolers to offices. But when I took over in 2014, I realised we could do so much more with the brand,” explains Windsor.

Over three million bottles of still and sparkling South Downs Water are now sold every year to luxury hotels, restaurants and cafés in Sussex and Hampshire. It became Goodwood’s estate-wide provider of mineral water in 2018.

Being a local supplier, this complemented the estate’s sustainability efforts.

Indeed, sustainability is high on Windsor’s agenda, as it should be. Plans are afoot to reduce the amount of plastic in each bottle by 4g, amounting to a reduction of 15 tonnes over the course of a year. Other eco-initiatives being explored include introducing recycled plastic bottles, reducing the label size and even blowing bottles on site, in a bid to reduce carbon emissions. The company only delivers within a 40-mile radius (anything further afield is sold via resellers) and its glass and plastic bottle suppliers are all based in the UK. It is working towards becoming carbon neutral and plans to generate all its energy through solar panels on site. Windsor has also pledged to send no waste to landfill.

As someone who sells bottled water, Windsor is well aware of the environmental crisis caused by single-use plastic.

But just like his father before him, he is looking for solutions.

ILLUSTRATION BY JILL CALDER

SHORTS SOUTH DOWNS WATER

performance performance meets meets art art

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SHORTS ARC VECTOR

LEADING THE CHARGE The brainchild of former Jaguar Land Rover boffins, the Arc Vector electric motorcycle offers a game-changing blend of innovative technology and space-age looks

Words by Hugo Wilson

“Trying to make an electric bike look like a petrol one is a mistake,” says Mark Truman, the charismatic founder, frontman and CEO of Arc Vehicles. “We wanted to create something that’s completely different.” Mission accomplished.

The £90,000 Arc Vector is a glorious blend of space-age looks, carbon fibre and machined alloy, softened by walnut veneer and sustainable leather. It looks like nothing else – more dreamer’s doodle than traditional motorcycle.

But it’s real. The bike was announced at the Milan motorcycle show last October and riding prototypes have been seen over the summer (including at Festival of Speed).

Arc claims that the media will get to sample a pre-production version imminently and that the first of 399 machines will be delivered to owners in late 2020.

Arc makes bold claims for its baby: 0-60mph in 3.2 seconds, 270-mile range, 125mph top speed, charging time 40 minutes. The company is less forthcoming about how it’s going to deliver on those promises, but there is undoubtedly substance behind the hype. Truman is the

former boss of Jaguar Land Rover’s White Space innovation lab. The Arc started as a concept at JLR, with the same roots as Jag’s new E-Pace SUV. With company backing, Truman, a passionate lifelong biker, has cut loose from JLR to turn the project into reality. His Coventry-based development team includes other former JLR personnel as well as F1, MotoGP and motorcycle industry expertise.

A factory is being planned and prepared in South Wales.

Building an electric bike from scratch is tough; the technology involved in battery, control unit, motor and associated charging is complex and expensive. But Arc is making it even harder by developing a radical new chassis and rider interface too. The bike is built around a carbon fibre monocoque that houses the battery and provides the structure of the bike. Up front, instead of conventional telescopic forks, there’s an innovative hub-centre steering system. Most of the instrumentation is delivered via a head-up display inside the rider’s helmet, which also serves as the bike’s security key. The rider wears a haptic jacket that alerts them to vehicles approaching from the rear by tapping them on the shoulder – though with its 125mph top speed, you’d hope that wouldn’t happen very often.

If the Arc can deliver, it’ll be another big step in the evolution of electric bikes. As with cars, range is a problem, and so is bulk. Range requires a lot of battery, but that means a lot of weight. Arc’s solution is two-fold: 960 Samsung 21-700 battery cells are packed into the monocoque to provide the power and range claimed, and the lightweight carbon chassis helps keep bulk down to the claimed 220kg. The hub-centre steering, meanwhile, allows radical steering geometry with no loss of stability.

It should handle with the agility of a much lighter bike.

“Petrol engines aren’t going to be here forever,” says Truman, “and we want to make sure there’s an alternative that’s really cool to ride.”

Arc Vector – “more dreamer’s doodle than traditional motorcycle”

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P e t r o l h e a d a p p r o v e d.

Model shown is a Fiesta ST-3 3-Door 1.5 200PS Manual Petrol with optional Full LED Headlamps.

Fuel economy mpg ( l/100km): Combined 40.4 (7.0). *CO 2 emissions 136g/km.

Figures shown are for comparability purposes; only compare fuel consumption and CO 2 figures with other cars tested to the same technical procedures. These figures may not reflect real life driving results, which will depend upon a number of factors including the accessories fitted (post-registration), variations in weather, driving styles and vehicle load. * There is a new test used for fuel consumption and CO 2 figures. The CO 2 figures shown, however, are based on the outgoing test cycle and will be used to calculate vehicle tax on first registration.

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How cars changed the world Words by Stephen Bayley

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From reshaping architecture to influencing fashion, music and movies, the invention of the motor car has had an all-pervasive impact on the way we live. Ahead of a major new exhibition at the V&A, Stephen Bayley considers the myriad effects of the automobile on the modern world

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More innocently, The Beach Boys knew they would have “Fun, Fun, Fun” until “Daddy” repossessed his misappropriated Ford Thunderbird.

And when, in 1967’s The Graduate, Dustin Hoffman fretfully drove an Alfa Romeo Duetto Spider across San Francisco’s Bay Bridge between the Embarcadero and Yerba Buena, the pretty car helped him create a universal symbol of erotic yearning. Back in London, Marc Bolan couldn’t drive, but was so infatuated by cars that his best-ever lyric, addressed to a woman, was: “You’ve got a hub-cap diamond star halo.”

But there was a democratic influence too. Ford’s Model T made the ordinary American a “man enthroned”, according to EB White in his 1936 essay “Farewell My Lovely!” Twenty years later, Hertz was offering enthronement for $7.85 a day. The Hertz ads said: “Rent it here, leave it there” – the ultimate proposition of an American culture cheerfully based on mobility and ease. And the image of this culture was eternally caught by Californian Pop Artist Ed Ruscha, whose 1963 book Twentysix Gasoline Stations is a consummate masterpiece of deadpan photography, and elevates the garage to the status of a temple.

Some of London’s greatest 20th-century architecture was created for the car. Chelsea’s Michelin House building of 1911 pioneered Hennebique’s reinforced concrete, disguised by glorious ceramic tiles of early motor-races. The Wolseley Restaurant was originally a car showroom, designed by William Curtis Green, architect of The Dorchester Hotel. Covent Garden’s Long Acre was once lined with car showrooms. Sometimes, the English response to the car was twee: East Sheen’s 1926 service station had a thatched roof. By contrast, the country’s first drive-in was on a Kent dual-carriageway where passing “motorists” were served by cheerful girls in impressively mini mini-

collision a modern cultural staple. Others followed his tragic arc, notably the goalkeeper-turned-existentialist Albert Camus, whose last journey was in a luxurious, over-powered and under-braked Facel Vega.

skirts. Of course, it was Alec Issigonis’s car that gave Mary Quant’s immortal garment its name. And in literature, JG Ballard’s 1973 novel Crash captured the erotic tension between speed, sex and death. How he

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PURCHASE FUND/BRIDGEMAN IMAGES. ABOVE: GETTY IMAGES; RIGHT; ALAMY

NEW YORK’S MAGNIFICENT GUGGENHEIM MUSEUM was inspired by a parking garage. Can there be more revealing evidence of the car’s impact on culture? Its architect, Frank Lloyd Wright, had trialled the bold helical ramp concept in a Park Avenue showroom he designed for Max Hoffman, the merchant who introduced America to Porsche.

Wright, nothing if not visionary, indulged in reveries about the various ways the car would transform America. To this end, petrol pumps were installed at his own house in Oak Park, Chicago, so he could conveniently fuel up his Model K Stoddard-Dayton roadster. He also coined the term “carport”. Wright’s Broadacre City of 1932 was a utopian fantasy that showed how cars would decentralise America and make congested cities redundant. It didn’t quite work out that way and we got strip malls, big box stores and suburbs instead.

Still, travelling in cars was a new experience. In Maryland, Wright proposed a helical ramp wrapped around Sugarloaf Mountain – so that driving to the summit would become an experience akin to circling in an aircraft. Other great modernist architects shared this infatuation with the automobile: Le Corbusier’s 1925 Plan Voisin for Paris replaced Haussmann’s historic city with tower blocks connected by speeding motorways. At Lingotto in Turin, the Italian Futurist architect Giacomo Mattè-Trucco built a factory combined with a rooftop test-track for Fiat – a compelling demonstration of speed, as Aldous Huxley argued, being the single novel experience of the twentieth century.

And in cinema and pop music, the car became a human proxy.

Racing a Mercury Coupe towards a cliff in a game of chicken in Rebel Without a Cause, James Dean expressed the glamour of delinquency. In 1955, Dean killed himself in a Porsche 550RSK and made the celebrity

OPENING SPREAD: THE ART INSTITUTE OF CHICAGO, IL, USA/HAROLD JOACHIM

CAR CULTURE

CAR CULTURE

Frank Lloyd Wright’s Broadacre City of 1932 was a utopian fantasy that showed how cars would decentralise America and make congested cities redundant

must have loved the Westway. What could be more poetic than people searching for their destinies along concrete strips arcing above the city?

Like car design itself, movies and rock music are the ultimate expressions of the last century’s industrial culture. And movies and rock music glorified some of the world’s great roads: the Promenade des Anglais in Nice, Route 66, the Grande Corniche with Grace Kelly and her shapely Sunbeam Alpine in Hitchcock’s To Catch a Thief, Sunset Boulevard, the King’s Road and the Pacific Coast Highway have all become part of our collective dreamscape.

But the influence of the car on human behaviour is becoming a matter of history. If you want to evoke a lost era, the expression “going for a drive” works very well. Incredible to say now, but once people drove up the M1 for recreation, since it offered a delirious vision of Macmillanera futurism as exciting as Flash Gordon and not available at home.

There is no better example of this view of the automobile as a vital accessory to modern life than Rodney Gordon’s 1966 Trinity Square Car Park in Gateshead. The other star in Michael Caine’s movie Get Carter, it was loutishly demolished in 2010 because the generally accepted opinion was that cars have ruined the environment.

A positive view of car culture has always had its enemies. John Betjeman used to revile the “dual-carriageway”. To Betjeman, “Cortina” was an eponym for the lower middle-class, which he so despised. “I am,” he wrote, “a young executive, no cuffs than mine are cleaner, I own a slimline briefcase and I drive the firm’s Cortina.” For this young executive in 1965 they built the Pennine Tower Restaurant on the M6 at Forton in Lancashire, whose recent listing by English Heritage confirms the motorway’s place in history.

We are nearing the end of The Age of Combustion and the automobile is entering its endgame paradox: as cars become less useful in congested cities and thwarted by eco-angst and legislation on the open road, their specification and performance are uselessly enhanced. Yet human imagination continuously demands vistas of escape.

Will the flying car ever take off? One of the first was envisaged by Henry Ford, who promised in 1940: “Mark my words, a combination

Opening pages: Ed Ruscha’s Standard Station (1966). Opposite: Frank Lloyd Wright’s Guggenheim Museum and, above, his 1932 plan for Broadacre City. Right: rebel without a cause James Dean at the wheel of his Mercury Coupe

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of airplane and motor car is coming. You may smile, but it will come.”

We’re still smiling. It didn’t take off. Yet the vision persists at Uber.

Meanwhile, the autonomous electric car will, they say, set us free.

But a driverless car will, in every sense, lack soul. The astonishing difference between a Ferrari V12 engine and a Citroën air-cooled flat twin resulted in beautifully different designs. But electric motors are all the same. And autonomy ignores the psychological reality of the automobile which is, if we are honest, based on concepts of pride and prowess and personality. Having Google drive you home after a party might be an advantage, but who would want Google to determine the vectors of a romantic road trip? An encounter with a driverless car will be no more involving or expressive than using an ATM. Combustion was an analogue experience – and driving was too.

But ours is a virtual age. Airbnb is a hotel business that does not own hotels. And the practical aspects of driving today are altogether less comforting. The urban under-30s today regard cars as unnecessary and expensive encumbrances leading to nowhere but social stigma and the criminalisation of movement, not the status symbol or romantic attribute they once were. Even roads themselves have lost their glamour.

But while it’s very hard to imagine the Festival of Speed in 2050 with silent vintage Nissan Leafs and Teslas whistling up the hill, Goodwood’s FOS Future Lab is investigating the future of car culture. Just as combustion cars created the suburbs, so AI-powered electric cars will change cities in their own way. Smart cities will have no traffic lights.

Parking spaces will not be necessary since sharing protocols mean cars will always be in use. Paper maps will disappear. The romance of the Michelin Guide, published as a stimulus to gastronomic travel and tyre consumption, will be replaced by the banality of TripAdvisor.

I asked the architect Norman Foster how designers might adapt to the challenge of the autonomous car. He told me they will have to find a focus of attention that is not the steering-wheel. Maybe, but we will never again see anything as wonderful as Gordon Buehrig’s Cord L-29, a car lionised by Frank Lloyd Wright.

Since the Guggenheim, cars have had an uneasy relationship with museums. True, New York’s Museum of Modern Art has a 1947 Cisitalia and a 1961 Jaguar E-Type in its permanent collection and The Louvre once exhibited David Bache’s 1970 Range Rover, but London’s V&A, the world’s outstanding design museum, was slow to recognise the significance of the car since its feudal departmental system could not decide whether a car was “metalwork” or “sculpture”. So they ignored the automobile. When I broke the taboo in 1982 and put an original Saab 92 on display, an old curator barged into my office, banged the table and told me I had “traduced” a great institution.

But a new exhibition called Cars: Accelerating the Modern World has the V&A tentatively entering the slip road of the fast road to the future.

Except “modern” is itself now an historic style label like baroque or rococo. How quaint it seems. “A savage servility slides by on grease” was how Robert Lowell expressed the essence of the car. But that was 1960.

The last great innovation on wheels was not a car, but Robert Plath’s 1991 patent for a carry-on wheeled suitcase.

Cars: Accelerating the Modern World opens at the V&A on November 23

MOTOR MOMENTS: the V&A show includes exhibits that demonstrate the cultural impact of the car. From top: engineer Karl Benz’s Patent-Motorwagen No. 3, 1888, was the first production automobile ever made. When it debuted two years earlier, it could barely manage 16 km/hour; Michelin Guide, 1900, produced during the Exposition Universelle in Paris, gave essential information for making road trips

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across France and predicted the huge future growth in car ownership and motoring as a leisure activity; a 1922 Peugeot brochure emphasises the link between motor cars and fashionability; Miss Fox’s Cloche Hat, 1928–29 – by the late 1920s, the science of streamlining learnt from car design gradually began to influence the design of an array of commercial products, ranging from hats and chairs to electric fans

FROM TOP: IMAGE COURTESY OF DAIMLER; MICHELIN; PEUGEOT; © VICTORIA AND ALBERT MUSEUM

CAR CULTURE

© Mark Seliger

CAR CULTURE

“

I tend to see in black and white…

It looks more real to me, and timeless. And I love the quality of Leica’s Monochrom system, it’s exquisite.”

Find more inspiration at m-monochrom.leica-camera.com

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NIGHT VISION Tiffany Francis, Forestry England’s writer in residence and author of a new book celebrating nocturnal landscapes, explains why she is inspired by the night skies of southern England

GUARDIAN/EYEVINE

Words by Peter Fiennes Photography by Sarah Lee

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TIFFANY FRANCIS

“Being out at night is so peaceful. It’s a really nice way to tune into the senses and be a different version of the person you are”

THE NATURE WRITER AND ARTIST Tiffany Francis still lives where she grew up – near Butser Hill in the South Downs National Park. As she writes in her new book, Dark Skies: A Journey into the Wild Night, “I love being at home, watching how a familiar landscape has changed in the short time I’ve been alive.” It’s true that Tiffany has not been around that long – she’s not yet 28 – but Dark Skies is already her third book. Her first was Food You Can Forage, and she also has a short book out this July called British Goats. “I love goats,” she laughs.

Tiffany was one of two writers chosen to be Forestry England’s “Writers in the forest” for their centenary celebrations this year.

She’s spending the summer visiting their woods, meeting staff, as well as working on a long-form narrative poem “with no people in it”, celebrating the woods and their non-human inhabitants.

“It’s inspired by The Rime of the Ancient Mariner,” she says.

We’re walking up a narrow, thick-hedged track near her home in Petersfield, close to the village of Steep, where the writer Edward Thomas produced many of his greatest poems. There is birdsong and rain in the air and Tiffany is telling me why she doesn’t suffer from nyctophobia, that feeling of dread induced by darkness, which comes “from the reptilian side of our brains”.

“I’m not really a fearful person,” she says, “and I’m quite solitary. I look forward to spending time with people but I’m not bothered either way. All the good stuff was written when I was alone.” In the book she describes several dark hours spent on her own, walking on Butser Hill or in the forests of Finland after nightfall. “I’d have been scared,” I say.

“Well, I can spook myself,” she says. “Is someone following me? But I like to think I’m a rational person.” She’d be pleased if Dark Skies encouraged people to get out into the dark more, but “actually people have work; people get busy. Being out at night is so peaceful. It’s a really nice way to tune into the senses and be a different version of the person you are. I don’t want to encourage people to do anything irresponsible – it’s a dangerous world – but do as much as you can.”

There are some beautiful descriptions of walking through the night in Dark Skies, not just on Butser Hill (where she watches a Wicker Man burn at the Celtic festival of Beltane and then wanders off alone to commune with the owls), but also in Norway where she gazes in awe at the Northern Lights.

paintings of animals on the back. I loved it so much I still have it. Mum used to take me to Queen Elizabeth Country Park in the summer holidays, when she had to work, and I did a different club every day. They were the happiest times of my life – out in the woods, doing crafts.”

Tiffany breaks up with her boyfriend, Dave, on the first page of Dark Skies, and in part the book recounts the aftermath of that trauma. (Without giving away too much, they reconnect during a walk in a velvet-black yew wood. “There’s nothing like a night walk for bringing people back together,” she writes.) The book certainly starts in a very bleak and lonely place, and she says that it was important to record things as they happened and “not to write everything in hindsight. Otherwise it can seem quite forced; a little bit fairy tale.”

A love of old poetry runs through Dark Skies. “Sometimes language can be hard, but it can still resonate in a way it once did.” This comes true when she quotes Byron’s devastating poem Darkness in full – his apocalyptic vision of a world without sunlight. She says it’s redolent of our current fears, of climate breakdown and mass extinctions, and I ask whether she feels daunted by the daily horrors in the news.

“There’s no point in feeling melancholic about it, because that’s not going to help anyone. I channel my energy in more positive ways, because the world needs more out of us than that.

Yes, it’s sad, but how can I turn that sadness into something good? Society is not designed for living sustainably. Everything we’re encouraged to do is not sustainable. But it’s not our fault.

We’ve just been brainwashed into buying stuff, and being selfish – not in an obvious way – but brainwashed into serving the self.

The book Sapiens changed my life. You think we’ve been living this way forever, but in fact that’s not true. It’s very recent. And we can change things. It’s all about perspective. We can reverse things – if we can just be bothered.”

We come back to her book. “We need to protect our dark skies,” she says. “Light pollution may seem one of our lesser worries, but the ‘health’ of the night sky is connected with the health of everything else on the planet.”

Tiffany says she was lucky to grow up in a place that infused her with a love of nature. “My mum loves nature – she was the one. I filled all these notebooks, saved a cereal packet that had

Thorn: the Ancient Woods and New Forests of Britain. His latest book, Footnotes: A Journey Round Britain in the Company of Great Writers is in shops now, published by Oneworld

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Dark Skies: A Journey into the Wild Night is published by Bloomsbury. Peter Fiennes is the author of Oak and Ash and

Previous spread: Tiffany Francis in the woods with her dog, Pablo (right) and (left) her illustration for Dark Skies, Taxus Baccata.

Left: The Dart, also from Dark Skies

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GREEN AND PLEASANT LAND Words by Mark Crosby

For the artist and poet William Blake, a three-year stay in the village of Felpham, just eight miles from Goodwood, was a source of inspiration for some of his best-known works, including what we now know as the hymn Jerusalem. But Blake’s rural idyll ended with a violent encounter and a potentially calamitous trial

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“Away to Sweet Felpham for Heaven is there”. So William Blake begins a poem composed in August 1800 and addressed to his Sussex patron, the poet and biographer William Hayley. Londonborn Blake spent three years living on the Sussex coast and this experience proved a wellspring of creative inspiration, helping him emerge from what he described as a “pit of melancholy”.

As the 18th century drew to a close, Blake’s talent as an engraver and artist had been ignored in London and his poetry dismissed as madness by contemporaries. He and his wife Catherine struggled financially, living as he said in 1799 “by a miracle”. The Blakes’ desperate economic circumstances were exacerbated by rampant inflation caused by a succession of poor harvests, which in turn prompted social unrest in London and nearby towns. With little prospect of work, in dire economic need, and with food riots on his doorstep, Blake accepted Hayley’s invitation to quit London for the first and only time in his life and move to Sussex. Writing to a friend on September 1, 1800, Blake includes a poem that expresses his sense of escape,

In late September 1800, the Blakes embarked on the 17-hour, 63-mile journey from London to Felpham by one of the thriceweekly passenger coaches, bringing with them “sixteen heavy boxes and portfolios full of prints”. The boxes included Blake’s star-wheel copperplate rolling press, which was assembled in the largest room of their new home, a six-room thatched cottage constructed from ship’s timbers.

The Blakes leased the cottage for an annual rent of 20 pounds from George Grinder, the landlord of the nearby Fox Inn. Blake was optimistic about his new home, describing it as “the sweetest spot on Earth”, and his future prospects, telling Hayley, “My fingers Emit sparks of fire with expectation of my future labours”. Blake also revealed to another friend that the move to the Sussex coast would enable him to become “independent.

I can be a Poet, Painter & Musician as the Inspiration comes”.

During his time in Felpham, Blake worked on various engraving and painting commissions for Hayley and started composing two of the greatest and most complex works in

characterising London as a “Dungeon dark […] Dropping with human gore”, while enthusiastically describing his soon-to-be new home: “See my cottage at Felpham in joy”.

British literature, the illuminated books Milton and Jerusalem.

It is clear from Blake’s correspondence, poetry, and art, that the move to Sussex inspired his creative energies. In a letter

BLAKE’S SUSSEX

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BLAKE’S SUSSEX

There is an apocryphal story that Blake composed this poem while gazing over the South Downs from a bay window in the Earl of March pub near Lavant. We do know that Blake, riding a pony called Bruno, often accompanied Hayley to Lavant to visit their friend Henrietta Poole. We also know that Blake, whose favourite tipple was porter, frequented the Fox Inn and drank small beer, but there is no extant documentary evidence that he visited the Earl of March pub. What we can say for certain is that Blake’s experiences in Sussex profoundly influenced the composition of Milton, which contains a number of autobiographical scenes that take place in Felpham. Work on the illuminated book itself didn’t begin, however, until 1804 when Blake had returned to London.

While Blake’s time in Sussex began positively, by 1802 he’d become annoyed at Hayley’s patronage, and his wife Catherine had suffered bouts of ill health that Blake blamed on the sea air and the cottage. By mid-1803, Blake decided to return to London, but before he and Catherine could leave Sussex, he had a potentially life-threatening encounter with the most powerful man in the county, Charles Lennox, the third Duke of Richmond, Commander-in-Chief of the Sussex Volunteer Corps, and Lord Lieutenant of Sussex.

On August 12, 1803, Private John Scolfield of the Royal Regiment of Dragoons entered Blake’s garden to speak to the local ostler who was working there. A brief fight ensued between the soldier and Blake that resulted in Scolfield and another soldier making an official complaint against Blake to the local Justice of the Peace. The soldiers claimed that during the scuffle Blake had “Damned the King of England – his Country and his

Previous page: the artist’s engraving of his cottage Above: Landscape near Felpham, 1800, watercolour

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to Hayley, Blake claims that the rural environment would be “propitious to the Arts” and described his new home as “a sweet place for Study. Because it is more spiritual than London”. Blake also saw his move to Sussex in a political context, drawing a connection between his new cottage and Revolutionary France. For Blake in 1800, the move presented an opportunity to renew the radicalism of his early illuminated books, works such as The Marriage of Heaven and Hell, which were produced in the highly charged atmosphere of the early 1790s, as revolutionary fervour spread across the channel and inspired a new generation of poets, including a young William Wordsworth.

Since Blake’s rediscovery as a poet in the early 20th century, largely thanks to WB Yeats, he has been considered one of the Romantics, an anachronistic catch-all term for a cultural movement that, if not wholly rejecting the Enlightenment emphasis on reason over feelings, fervently celebrated the unfettered imagination. Unlike other prominent Romantic poets, whose work evinces a deep connection with nature and landscape, Blake’s early poetic and pictorial work mostly eschews nature. After his move to Sussex, however, we see a significant engagement with landscape. Pictorially, Blake tries his hand at landscape painting, including an unfinished watercolour (now in Tate Britain) of his cottage in Felpham surrounded by cornfields. In both Milton and Jerusalem, the English landscape is prominent both visually and poetically, perhaps most famously in the four-stanza poem that concludes the Preface to Milton, now more popularly known as the hymn Jerusalem, which begins: “And did those feet in ancient time/ Walk upon Englands mountains green”.

BLAKE’S SUSSEX

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BLAKE’S SUSSEX

subjects”. On 16 August, Blake was also called before the Justice and was entered into a warrant to appear at the Petworth Quarter Sessions. At these Sessions, presided over by Richmond, the Grand Jury found sufficient cause for Blake to stand trial for sedition at the Chichester Quarter Sessions in early 1804.

At four o’clock on a cold January afternoon, Blake stood before a bench of local Justices, headed by Richmond, and a jury of his peers, charged with seduction from allegiance and duty, seditious expressions, and assault. These were serious charges, particularly sedition – given the collapse of the Peace of Amiens and resumption of hostilities between Britain and Imperial France. In the summer of 1803, Bonaparte had amassed an army around Calais ready to invade southern England and French spies had been apprehended along the south coast, reconnoitering possible landing sites. In his role as Lord Lieutenant of Sussex, Richmond was responsible for organising the defence of the region against the threatened French invasion and had a history of suppressing disorder in the county. During Blake’s trial, Hayley noted that Richmond “was bitterly prejudiced against Blake; & had made some unwarrantable observations”. If the jury found Blake guilty he would have been sentenced there and then by Richmond.

Before the trial, Blake described the case against him as “a Fabricated Perjury”, which proved to be the case. Blake’s advocate called several witnesses to discredit the soldiers’ testimonies against Blake and under cross-examination the soldiers gave contradictory evidence. Hayley’s friend, the Chichester-based composer John Marsh, recorded in his journal that the soldiers did not agree “in their evidence & fail[ed] to make good their accusation”. All charges against Blake were dropped, with the

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local newspaper reporting that the acquittal “so gratified the auditory, that the court was, in defiance of all decency, thrown into an uproar by their noisy exultations”. Whether Blake actually uttered seditious expressions on 12 August 1803 is unlikely based on the conflicting testimonies of the soldiers. In the privacy of his own manuscript notes, however, Blake’s view of monarchy is evident in statements such as “Every body hates a King”. If such writings had been presented during the trial, Blake would certainly have been imprisoned for at least three months, and in the context of the French invasion threat, with the Duke of Richmond as the presiding Justice, he may even have been transported to Botany Bay or worse.

Despite only spending three years in the county, Blake maintains a significant presence in Sussex to this day. The cottage he lived in still stands and was bought in 2015 by the Blake Society after a fundraising campaign endorsed by Philip Pullman, Stephen Fry, and Russell Brand. With the support of a National Lottery grant, the society set up a trust with goal of restoring it to its 18th-century condition, after which the Blake Cottage Trust plans to open the building to artists and scholars, host exhibitions, and house a replica of Blake’s star-wheel copperplate rolling press, with members of the public invited to take part in engraving and printing demonstrations. Blake’s time in Sussex has also inspired the Big Blake Project’s annual BlakeFest, a celebration of his visionary genius, comprising a diverse range of events including musical concerts, poetry readings, and art exhibits that take place in Bognor Regis and Felpham in the autumn. Both BlakeFest and the Blake Cottage Trust continue Blake’s creative legacy and, in their own ways, fulfil his 1800 declaration that Sussex is “propitious to the Arts”.

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Above: Blake’s pastoral experience informed his later work, like this 1821 engraving, Thenot and Colinet

BLAKE’S SUSSEX

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RED LIPSTICK

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RED LIPSTICK

Since the time of Cleopatra, women have been using crimson colouring to give their mouths a little extra oomph. Red lipstick, it seems, never goes out of style – but what exactly does it signify?

SIMPLY

RED Words by Hannah Betts

“ON A BAD DAY, THERE’S ALWAYS LIPSTICK,” noted no less an icon than Audrey Hepburn. And even the most slavish natural-look devotee will understand what she meant.

Hepburn wasn’t talking about the guileless pink she applies post jail-release in Breakfast at Tiffany’s, but a humdinging rocket-red of the sort one turns to for serious kapow.

Red lips shout stardom, in the same way that for the ancients they spelled divinity, given that statues of the gods were replete with cherry-red mouths. No Hollywood legend has been without her scarlet smile, be it Bette Davis, Marilyn Monroe or Elizabeth Taylor; just as pop stars Madonna, Rihanna and Taylor Swift crave a carmine pout today. Red is the signal for stop, behold and bow down – as much a demand for submission as it is a provocation.

For red is not merely a primary colour, but nature’s primal hue; the shade against which all others feel a bit… meh.

“Red is the colour of life, of blood,” declared Coco Chanel – no mean red-lip sporter herself – getting to the heart of its elemental appeal. It is the first colour specified by name in almost all primitive cultures, and the shade most deployed in their art. In ancient Hebrew, “Adam” means both “alive” and “red”, while prehistoric man daubed with blood anything he sought to summon to life.

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RED LIPSTICK

For many women, and still more for their male admirers, red lipstick is make-up. Certainly its potently plush tone is associated with fertility – the ultimate incitement to the red-blooded male

assault on the workplace. These new power players brandished their bullets, wielding their lips like the cosmetic equivalent of so many flame-coloured Ferraris. No superwoman nor

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Right: Horst P Horst’s iconic photograph, Lipstick, Quick! which appeared on the cover of Vogue in July 1939 PREVIOUS: SHARIF HAMZA/TRUNK ARCHIVE. RIGHT: HORST P HORST/CONDE NAST/GETTY IMAGES

Accordingly, when we refer to red lips as “retro”, we’re actually talking millennia. Red is the cosmetic arsenal’s most ancient shade, in evidence as long ago as we have evidence of man. Back in the 3rd century BC, the Sumerian city of Ur’s Queen Shubad favoured ground red rock; Cleopatra relied on henna and carmine; while Poppaea, wife of the Roman Emperor Nero, experimented with ochre and iron ore. One of the most poignant relics left by the eruption of Vesuvius in 79 AD is an ivory-handled mirror which would have been clutched by a fashionable beauty while she ruddied her pout.

This long and potent legacy means that, for many women, and still more for their male admirers, red lipstick is make-up.

Certainly its potently plush tone is associated with fertility – the ultimate incitement to the red-blooded male and the chief symbol of the tricks the female of the species has up her sleeve.

However, today’s cultural critics tend to smile at such naivety.

Instead – inspired by gender theorist Judith Butler – they view the painted face as an act of theatre, performance, play.

Either way, the scarlet mouth presents an exquisite contradiction: an emblem of perfection begging to be besmirched; hallmark of a siren who cannot kiss or consume.

Red-lips woman may harbour beguiling shades of the gutter; however, her immaculate moue renders her a class act, sufficiently leisured to keep her maquillage pristine. Her mouth demands that we pay attention to what she’s saying, while providing the ultimate distraction by means of subtext.

Red, of course, also means war: something incendiary, a red rag to a bull. Magenta, lest we forget, is a shade that takes its name from the blood-soaked soil of an Italian battlefield.

Merely laying eyes on the colour is said to increase the metabolic rate. When subjects in a study measuring grip were shown a red light, their strength improved by almost a fifth. Red steels a girl for action, supplies her with her armour. Hence the red mouth’s popularity when Britain was last at war: a mark that its womanhood would be red in tooth and claw as they took over the working world and kept home fires burning bright.

Come the 1980s, red lips returned as women re-staged their

RED LIPSTICK

supermodel sallied forth sans scarlet lip. As Rose McGowan, the #MeToo heroine who later took on Harvey Weinstein, would declare: “I came out of the womb waving red lipstick.”

Make-up mythology has it that there is a red for every woman. Well, up to a point, Lord Copper. Lacquer or letterbox reds such as MAC’s Red Rock can look fabulous on milky blondes, honey-hued brunettes or raven-tressed beauties.

However, if one’s complexion is pink-toned, then a bluish hue such as MAC’s Ruby Woo will be just the thing, while tawnyorange types should veer toward foxy corals such as Dolce &

Gabbana’s Devil. Chanel, of course, is the home of the scarlet pout, inspired by its creator’s lifelong fixation. It even boasts a sheer option for ingenues desirous of dipping a toe: Les Beiges Healthy Glow Lip Balm in Deep.

My personal obsession is a berry, specifically, Charlotte Tilbury’s Matte Revolution in Glastonberry. The company describes this shade as a “muted purple”; however, it reads red to its perpetual stream of admirers. When I hold its bullet to my lips, I am transformed into my best and most ball-breaking self – beneficiary of a retro ritual that remains forever new.

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DREAM TEAM

Goodwood and the British luxury brand Connolly’s new collaboration celebrates their shared automotive heritage – and the racing career and style of the 9th Duke of Richmond, aka Freddie March. So who better to model the collection at Goodwood than his great-grandsons?

Photographed for MR PORTER at Goodwood Motor Circuit

by James McNaught

P.54–55: Charlie (left) wears Hornet sweater in Shetland wool, plated with cashmere inside, £350, inspired by the Hornets, regulars at Revival who were in turn inspired by the American motorbike gang culture of the 1940s and ’50s. Will (right) wears Submariner Rollneck knitted in Austrian technical merino wool, £365, Needlecord trousers, £310, and the ACME Racing Whistle, £65, inspired by the old police whistles formerly used during racing at Goodwood to alert pit-stop teams to the coming and going of cars.

Above: Will wears March Moto Coat in 100 per cent vulcanised cotton with leather collar, £1,100, inspired by a trench worn

by Freddie March in the 1930s.

P58–59: Will wears Submariner Sweater knitted in Austrian technical merino wool, £365, and Mechanic’s Asymmetric Blouson, £390. Above: Charlie wears Overalls in lightweight washed and tumbled Italian cotton, £390, and cashmere red Beanie, £135, inspired by Stirling Moss’s racing headgear. P62: Will wears grey Submariner Rollneck and Needlecord trousers, as before, and cashmere Gordon scarf, £395

“I very much look for inspiration from my grandfather’s wardrobe and pictures of him when he was driving or flying”

“IT’S AN OBVIOUS AND NATURAL FIT,” says the Duke of Richmond of Goodwood’s collaboration with British luxury brand Connolly: the new Goodwood X Connolly collection, photographed here by James McNaught for MR PORTER. “Connolly is a great success story,” he continues, “and there’s clearly a passion for motoring and an automotive heritage that we both share. The collection is a fabulous reflection of what Goodwood is all about – loosely based on the look my grandfather developed when he raced his own cars and motorcyles in the 1930s. When it comes to Goodwood’s automotive heritage, I very much look for inspiration from my grandfather’s wardrobe and pictures of him when he was driving or flying.”

The current Duke’s grandfather, the 9th Duke of Richmond, raced as Freddie March during the 1920s and 1930s – before bringing motor-racing to Goodwood in the 1940s. And it is Freddie March’s passion for all things automotive that enlivens the classic menswear designs, such as trench coats, roll-necks and overalls, that make up the 19-piece collection. So where better to photograph Goodwood X Connolly than at the Motor Circuit that Freddie founded? And who better to model the clothes than his great-grandsons, the current Duke’s sons, Charles, the Earl of March, and Lord William Gordon Lennox?

As for Connolly’s heritage, the company, founded in the late 19th century, made leather that graced the seats and fittings of many luxury car marques, including Rolls-Royce and Aston Martin, along with the Queen Mary ocean liner, Concorde and of course those iconic benches in the Houses of Parliament.

“I very much admire what Isy has done with Connolly since she re-launched the brand in Clifford Street,” says the Duke. For Connolly’s current incarnation is a relatively recent phenomenon, the work of Isabel Ettedgui, the wife of the late founder of seminal fashion brand, Joseph. At Connolly, Ettedgui has set out to create a British luxury brand selling “beautiful objects, beautiful clothes, well-designed pieces of furniture” – all of which are showcased with exquisite taste at the brand’s Georgian townhouse in the heart of Mayfair. Meanwhile a fourth-generation family member, Jonathan Connolly, is also producing beautiful leather for the interiors of luxury cars, boats and planes.

“Isy is passionate about things that are well-conceived and well-crafted,” says the Duke, “and she has a really personal vision for what she’s doing at Connolly. We couldn’t be more excited about this collaboration.” For Ettedgui, meanwhile, “this limitededition wardrobe represents the racing style and love of adventure that Goodwood and Connolly have long been renowned for, and celebrates the motorsport pedigree pioneered by Freddie March.

Combining natural-fibre performance with classic sportswear aesthetics, this is a collection of elegant pieces built for racing, grand-touring and travel.”

So we see Will Gordon Lennox sporting a trench coat based on a coat Freddie March used to wear. A flight jacket gives a nod to Freddie’s fascination with aviation; there’s a scarf inspired by the Gordon tartan that he wore under his jacket while racing. And all of this shot at the Motor Circuit, which “as a location”, says James McNaught, “is as good as it comes”.

All images photographed by James McNaught for MR PORTER. Goodwood X Connolly is available exclusively from MR PORTER, mrporter.com

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THE MINI

No car defined the spirit of an age better than the Mini in the 1960s. Fun, British and classless, it was one of the cultural icons of its era, appearing in films and fashion shoots, and driven by everyone from pop stars to royalty

MINI MEMORIES Above: Throughout the Sixties, the Mini was closely allied to the fashion world, featuring prominently in magazine shoots, often with mini-skirted models. This monochrome OpArt Mini, for sale in a car showroom in Thames Ditton for £385, was decorated with stick-on plastic designs. The matching Shubette dress and Saxone shoes were optional.

Left: Model Twiggy was synonymous for many with the Swinging Sixties. Here she is photographed in 1968 at the age of 19 at the wheel of her Mini, in which – as was the case for so many young Brits of that era – she had just passed her driving test.

Above: The Beatles all owned several Minis and were often seen around town in them. Bought originally by their manager and master imagemaker Brian Epstein, the boys’ Minis were modified by Harold Radford (Coachbuilders) with custom paint jobs and interiors. Paul’s incorporated several Aston Martin features, including a California Sage Green metallic paint job and Aston tail-lights.

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THE MINI

Below: From its launch in 1959, the Mini’s advertisements added to its zeitgeisty appeal with striking colours and graphic design. This one, from 1961, has a pop-art poster feel.

adventures in the present day. No surprise then that his vehicle of choice was a Mini Cooper

of the era. A spoof on 1960s culture, the plot revolved around Adamant, an Edwardian adventurer, travelling forward in time to have

S, complete with personalised numberplate AA1000, sun-roof, electric windows and posh interior, all created by Harold Radford.

The Beatles all owned several Minis and were regularly seen around town in them

Above: As the most modern of the royals, it’s no surprise that Princess Margaret and Lord Snowdon owned a Mini Cooper S during the Swinging Sixties. Modified with grille floodlights and a special bonnet badge, it’s seen here, very much in preHealth and Safety days, transporting the young David Linley home from hospital after an ear operation.

Goodwood will celebrate 60 years of the Mini with a Swinging Sixties parade at Revival, which takes place September 13–15

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Below: The much-loved 1969 heist caper movie The Italian Job cemented the Mini’s position as a British design icon. Starring Michael Caine, who uttered the famous line, “You’re only supposed to blow the bloody doors off!”, the film’s producer Michael Deeley later said it was “the longest commercial for a car ever made”.

NICK KISCH; GETTY IMAGES; ALAMY; REX/SHUTTERSTOCK; ALAMY

Above: Adam Adamant Lives! starring Gerald Harper, was one of the sillier TV programmes

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The way we were Buying a box of old Kodachrome slides on eBay inspired Lee Shulman to create The Anonymous Project. Two years on, he has built up a vast collection of vintage images – unique artefacts that offer a fascinating snapshot of past lives Words by Gill Morgan

Couple, left, USA; lady passenger, above, UK. Both taken in 1960

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THE ANONYMOUS PROJECT

WHEN LEE SHULMAN OPENED UP the box of vintage Kodachrome slides he’d bought on eBay and held one up to the light, “something just clicked”, he says. “It was a real Eureka moment. It’s the fact that you can only reveal the images by projecting light through the slide; there’s a kind of magic. The colours are incredible, they just glow.

And there’s a real intimacy to so many of the images that is really powerful.” And so The Anonymous Project was

Shulman is a Paris-based film director and photographer who has worked mostly in advertising and music video production. Although in his professional life he deals largely with digital images, like many photographers and filmmakers he has a love for the pure aesthetics of film. It was this that prompted him to send off for that first box of old slides, and once he started, he couldn’t stop, buying on eBay, at flea markets and taking donations from people who

born, starting life as a website that houses the scanned and digitised images but now expanding with books and exhibitions and associated art projects.

had found out about the work. “The project has only been going for two years, but in that time I’ve physically looked at 800,000 slides, and chosen 12,000 for the collection.

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THE ANONYMOUS PROJECT

Photographs in The Anonymous Project’s collection are displayed without biographical information – just when and where the image was taken. The project’s founder believes this focuses attention on the emotion of the photograph. Clockwise from left: a tender moment, USA 1958; seaside fun, UK 1969; sharing a joke, USA 1960

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Kodachrome was the HDTV of its day. It produced very high-quality images and was an expensive process, which is why it eventually went out of business. I love the fact that there’s a hidden quality to the images, only revealed when light is shone through them. It’s light that’s the medium.”

Launched by Eastman Kodak in 1935, it wasn’t until the early 1950s that the price of Kodachrome had fallen enough for home photographers to use it, which they did right through to the 1970s. Putting on a home slide show of holiday photos for family and neighbours became a staple of life. “I think of it as the first social media,” adds Shulman, who says it’s the intimacy of the images that he finds powerful, plus the fact that we know nothing about the subjects. “For me, that anonymity is important; I want viewers to connect with the emotion of the image, not the specifics of that person. I’m also very aware of the person taking the photograph, you can almost feel that emotional connection, between lovers, fathers, daughters, friends.”

But the images are also a fascinating time capsule of how we used to live: people standing proudly next to their cars, midcentury interiors, duffel-coated toddlers and beach

Two years on, Shulman now works with a small team to develop the project. This summer saw an immersive exhibition, sponsored by French fashion house agnès b., at the Rencontres d’Arles photography festival in Provence.

There’s also an upcoming book, Midcentury Memories: The Anonymous Project, published by Taschen, with other books and shows in the pipeline. Shulman welcomes donations of slides from all over the world, and, as a Brit based in Paris, is especially keen to grow the UK part of the collection. “The British pictures have a very distinctive feel,” he says. “Some people dig out their slides to send to us, then start looking at them, and rediscover them themselves, which is great.

For Shulman, what matters most is the emotional content of the pictures, the privilege of being granted a glimpse of an unstaged moment of a life. Tenderness, hilarity, pride, sadness... all are on display here. As Shulman explains, often these amateur photos are technically imperfect – like life itself – and all the more compelling for that. “The project is akin to finding fading pages from an anonymous diary and placing them in a time capsule for future generations.”

musclemen. There’s also a timeless universality to many of the pictures, which feature embracing couples, family celebrations, much-loved pets and happy holidays.

The Anonymous Project would be interested in receiving donations of slides from readers of Goodwood Magazine.

Contact info@anonymous-project.com

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Above: jumpers, wellies and duffel coats: childhood in the UK in the mid-1960s.

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THE ANONYMOUS PROJECT

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Goodwood’s heritage of sporting pursuits, speed and innovation inspired fashion designer Nabil Nayal’s stunning new collection of couture pieces Words by Nilgin Yusuf Photography by Jon Nicholson

HOUSE STYLE “I REMEMBER THE SMELL OF OILS and cottons and how they would steam and make the fabrics. It’s very distinctive and if I smell it now, it sends me right back to being four years old in my father’s textile store.” Nabil Nayal (his full name, Nabil El-Nayal, means Noble Man or Prince) is recalling the family business – once located in a souk in Aleppo, Syria, that had been passed down from his grandfather. Nayal moved to the UK at 14, but Syria has had a formative influence on the fashion designer, who is now 34. He fondly recalls rolling over bales of fabric as a child and secretly snipping tiny samples from his favourite bolts of cloth that he would hide in his bedroom. “I was a young hoarder and would store these beloved scraps,” he confesses. “At one point, my dad was convinced we had mice because all this material kept disappearing.”

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NABIL NAYAL

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NABIL NAYAL

Previous pages: Nabil Nayal with his couture pieces, photographed at Carney’s Seat on the Goodwood Estate and (left) at the Shell Grotto.

Above and overleaf: the collection was designed to convey a sense of speed and aerodynamics

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When the original premises were bombed out of existence six years ago, the textile business ended up operating out of his old bedroom, long after Nayal had moved to England to become a fashion student at Manchester Metropolitan University. The fabric hoarder went on to develop a confident signature style, one that emphasised form and silhouette.

He cites the late, great Italian designer Gianfranco Ferré, known for his architectural shirt-cutting, as a key influence and it is shirts that Nayal is perhaps best known for. When Nayal was shortlisted for the LVMH Prize in 2015, the late Karl Lagerfeld bought one of his white poplin shirts with a bonded and pleated collar for his muse, Amanda Harlech, declaring, “I love it! I love it! I love it!!”

Nayal is currently working on his ninth collection for London Fashion Week as well as an intriguing collaboration with Goodwood, which plays to his fascination with historical design. The forthcoming Spring/Summer 2020 collection sees a return to his Syrian heritage via Lord Byron and the New Romanticism of the 1980s. History has always been a key driver in the prize-winning work that Nayal has produced, which has garnered him countless awards from the Royal Society of Arts and the British Fashion Council.

Examining historical dress is key to Nayal’s research

often recreated using modern technologies such as bonding or 3D-printing, but he feels there’s too much reliance on the internet and 2D imagery for fashion research: “The screen is a tool and shouldn’t be a guiding principle. Creativity is interdisciplinary; it’s about crossing into different spaces and having new conversations. Being able to touch clothes, to feel the weight of them and see the detail, excites me.”

Nayal’s desire for new conversations with the future and the past have seen him working with the School of Historical Dress in Lambeth, which gave the designer access to a rich collection of historical garments. His exploration of pieces from the late 18th and early 19th centuries took him to the chemise à la reine, which was a key element of his A/W 2019 collection. Before this, he was also a regular at the British Library, which is where he researched his 40,000word PhD on Elizabethan dress. “Not bad for someone who failed their English GCSE!” he jokes (and there aren’t many fashion designers who can put Dr in front of their name).

It’s also where he presented his first London Fashion Week collection. Here, he pored over original texts from the courts of Henry VIII and Elizabeth I and some of these words made their way onto white lawn dresses, including the famous quotation, “I may have the body of a weak and

process and creative imagination; he relishes being in close proximity to authentic garments, uncovering the secrets of their craftsmanship. Intricate smocking and pleating are

feeble woman, but I have the heart and stomach of a King, and a King of England too” – uttered by Elizabeth I when the Spanish invasion was imminent.

NABIL NAYAL

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NABIL NAYAL

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“Elizabeth I, as channelled by Cate Blanchett, is close to my ideal woman,” says Nayal. “She wasn’t afraid to challenge convention.” And that also holds true for many of the women who have chosen to wear his clothes, including artists, designers and curators.

Notable patrons are Lady Gaga, Rihanna and the late Zaha Hadid. Nayal has done a great job of modernising the Elizabethan ruff, something that features on some of his shirts and which he wants to be worn in a contemporary, relaxed way. “My approach is about disruption as a generative principle in fashion design; it’s about transfiguring the different elements into a contemporary whole.”

With Nayal’s fascination and respect for the past, the stars aligned when he was approached this year by the Duke of Richmond to create exclusive pieces inspired by the rich heritage of Goodwood. The estate is famous, of course, for its sporting pursuits, all of which have their own clothing codes and cultures, whether it’s motorsport, aviation, horse racing or golf. But Goodwood is also a highly social place, with race meetings, balls and parties integral to its yearly calendar. For centuries it has been a place where people would come together, dress up and have fun.

Nayal and the Duke were introduced by Sian Westerman of the British Fashion Council and Nayal was given an extensive tour around Goodwood house and the estate. Dazzled by the artefacts and artworks

famous annual celebration of brilliance in the motoring and aviation worlds, with an emphasis not just on the design and aesthetics, but also on the dynamic technical capabilities of these brilliant machines.

“I realised it was all about innovation,” says Nayal.

“Tradition and heritage, yes, but always innovation.

I took speed as my theme and the concept of aerodynamics, which allows vehicles to travel through space more quickly. I wanted to prioritise function and performance over decoration. I looked at the importance of stripes in sportswear and how they can convey speed.” Three bespoke pieces: a full-length gown and train, a cocktail dress and a trouser suit, all made from silk zibeline – a luxurious and sculptural fabric – are combined with silk organza and cotton organdie. “The pieces look very classic from the front but the drama is all at the back of the garments,” he adds. This rearguard action gives a sense of turbulence and speed.

Nabil Nayal’s Goodwood-inspired couture pieces were unveiled at Ladies Day on August 1 of this year, during the Qatar Goodwood Festival, and will now be exhibited at Goodwood, becoming part of the estate’s rich archive of treasures. “I’ve never had the chance to work on a couture project before so this was an amazing opportunity,” the designer says proudly. “I was told not to limit myself but to produce the most dramatic pieces I could.” There is a pleasing serendipity that Nayal’s work, much of which draws its inspiration from fashion

there, it was ultimately the concept of speed that spoke most powerfully to him. Over the past 26 years, Goodwood Festival of Speed has become a globally

archives, will itself be part of the estate’s archive for future generations to enjoy. The past and the future combined – a winning Goodwood alchemy.

The ex-Barbara Hutton 1935 AUBURN 851 SUPERCHARGED BOATAIL SPEEDSTER Coachwork by Bohman & Schwartz The Bond Street Sale 2019

Entries Invited Forthcoming Motoring Auctions 2019 THE GOODWOOD REVIVAL SALE Chichester, UK | 14 Sep MPH SEPTEMBER AUCTION Bicester Heritage, UK | 26 Sep THE BONMONT SALE Chéserex, Switzerland | 29 Sep

COLLECTORS’ MOTOR CARS AND AUTOMOBILIA AUCTION Philadelphia, US | 7 Oct THE ZOUTE SALE Knokke-Heist, Belgium | 11 Oct THE LONDON TO BRIGHTON VETERAN CAR RUN SALE London, UK | 1 Nov

THE RAF MUSEUM SALE London, UK | 21 Nov MPH NOVEMBER AUCTION Bicester Heritage, UK | 26 Nov THE BOND STREET SALE London, UK | 7 Dec

ENQUIRIES UK +44 (0) 20 7468 5801 ukcars@bonhams.com US +1 (415) 391 4000, West Coast +1 (212) 461 6514, East Coast motors.us@bonhams.com bonhams.com/motorcars

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HERMES BESPOKE

INSIDE JOB Words by James Collard 80

A workshop in the industrial suburb of Pantin in Paris is a dream factory where the bespoke division of luxury brand Hermès creates the ultimate car interiors, from a 1930s Voisin to a contemporary Bugatti Chiron

The first sight that greets visitors to the Hermès Bespoke workshop in Paris is a rare automotive beauty – an Avions Voisin C28 Aérosport from 1935, the year Gabriel Voisin unveiled the model at the Paris Auto Salon. Rare, because although the Aérosport’s good looks and technological innovations met with a chorus of approval at the show, Voisin was launching this most luxe of vehicles in a depressed market. Shortly afterwards, his car-making business folded (although his gifted young designer, André Lefèbvre, would go on to achieve great things at Citroën, including the DS, the Traction Avant and the corrugated HY van). So just ten Aérosports were made, and this is one of only two that are thought to have survived. It has quite literally been through the wars – or war, to be precise – acquiring a bullet-hole or two during the Occupation.

But today we see it restored to prime, concours-ready condition, its body refashioned by specialist coachbuilders and its interior re-crafted by none other than Hermès. For although this French luxury house is better known for turning out beautiful headscarves, or, with the Birkin and the Kelly, handbags so iconic and finely crafted that they’re collectables, here at Hermès Bespoke they will also create a custom car interior. Or pretty much anything else. Standing beside the Aérosport – in an area where clients meet with the Bespoke team and peruse plans and books of swatches – there are two Yahama motorbikes, their leather parts customised by the

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HERMES BESPOKE

house. There are also two handsome, super-light, carbonframed bicycles designed by Hermès itself – the jauntily named Le Flâneur and Le Flâneur Sportif – which wouldn’t stay locked up for long if left outside where I live in East London. There’s a surfboard and some skateboards – a playful mix of streetstyle and Parisian luxe. And there are more wonders in the making inside the workshop itself, which is an airy, doubleheight, light-filled studio.

Sadly, we’ve just missed a Bugatti Royale from the 1920s, the era when Hermès, which had already been making bespoke bridles and saddlery for almost a century, turned its highlyskilled hands to automotive interiors and accoutrements.

But a craftswoman is checking beautiful, off-white cow hides for imperfections before they find their way into the interior of a new Bugatti Chiron. And there are also two canoes that are works in progress – traditional in style and shape, but with cutting-edge materials making up their hulls, which are awaiting some of that lovely Hermès leather for the detailing.

And the cost of a custom Hermès canoe? Or an interior for your Bugatti, new or classic? Or for your private jet, perhaps?

“We don’t like to talk about cost,” Christophe Beltrando, the MD of Hermès Bespoke, tells me in the context of the workshop’s automotive projects. And in truth, if you need to know how much a brand-new Hermès canoe would set you back, then you probably need to steel yourself to the idea of getting through life without one.

“It’s a dream,” says Eugenio Fadini, the man who, as production coordinator for the workshop, finds himself managing a space that produces any or all of the above, often simultaneously. And perhaps this is a kind of dream factory, producing extraordinary things for clients with the wherewithal and the imagination and the desire for them. And as Beltrando points out, for many of the clients, the process – the choosing of different designs or fabrics or leathers, the consultations about design and options, the banter with the artisans and the joy of seeing of it all come together – is part of the pleasure. Fun, I suggest. “Yes, if they like this kind of fun.”

It’s also clear that this team of engineers and designers and specialist craftsmen also enjoy working at Hermès Bespoke, the heart of the house’s bespoke division. Why wouldn’t they?

Rather than churning out one product in a production line, day in, day out, you work on an ever-changing roster of fascinating challenges, at the end of which is something beautiful, like that Voisin interior, something any artisan would be proud of.

Each project calls for different approaches, materials and collaborators with tailored skill-sets. These are drawn mostly from within the Hermès group, which includes everything from saddlers – still making saddles in the garrets above the Hermès flagship store on the swanky Rue du Faubourg-SaintHonoré – to silk-makers and watchmakers or masters of crystal and fine porcelain production. But occasionally Horizons also turns to carefully sourced outside experts, such as a canoe maker, for example. And alongside all of this, there is the allimportant interaction with the client, who will very often be a connoisseur of the kind of piece being commissioned, or of the marque of the classic car they are having restored. And if the commission is for a new Bugatti or Rolls-Royce, for example, the team at Hermès Bespoke will work closely with their peers at those brands to factor in exactly what is possible and what is compatible within health and safety legislation.

Highly skilled leatherworker Jordan Beaurianne has worked on many of the workshop’s automotive projects. He enjoys the challenges that these always present, he says, but particularly

82

Rather than churning out one product, day in, day out, they work on an ever-changing roster of challenges, at the end of which is something beautiful – something any artisan would be proud of

Opening spread: the recently restored 1935 Avions Voisin C28 AÊrosport takes pride of place in the Hermès Bespoke workshop.

Below (left to right): Jordan Beaurianne, Christophe Beltrando and Eugenio Fadini study plans for another restoration project

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HERMES BESPOKE

Jordan savours the opportunity to work on classic cars, “because you get to see the craftsmanship of the people who worked on them a century ago. That’s wonderful” savours the opportunity to work on classic cars, “because the car is here in the workshop, which doesn’t happen with the new models. And you get to see the craftsmanship of the people who worked on these cars a century ago. That’s wonderful.”

But all this dream-making must be, I suggest to Beltrando, a bit of a nightmare in terms of production and logistics and such workaday things as project scope, project management workflow – and understanding just when Hermès Bespoke will need to call upon particular materials, or the craftspeople best qualified to use them, or how they can align their own timetables with those of clients and other luxury businesses such as Rolls-Royce or Bugatti.

This way of working requires a completely different approach to time-management. Take the 1930s Bugatti: the client was offered two options for the fabric lining its interior – something contemporary and entirely new from Hermès, or a precise replica of the original fabric, recreated by Hermès’ experts from a small fragment. He chose the latter. Or another example: just how long does it take – and how long should it take – to turn out a luxury canoe?

“This is a question facing any craftsman,” Fadini insists. “I guess we’re doing the same, only with a car here, a plane there.”

Or, as Beltrando puts it: “Any object has a lot of constraints.

How do you handle quality or design when you just make one object? How do you handle time? What is the right balance of all the constraints? This is what real bespoke is.”

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Clockwise from top left: the famous embossed Hermès logo; swatches and spools in the studio; highly skilled leatherworker Jordan Beaurianne at work

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calendar HIGHLIGHTS

SEPTEMBER – DECEMBER September 13 – 15 REVIVAL Now in its 22nd year, Revival recreates the golden age of Goodwood Motor Circuit, with cars and motorbikes from the 1940s, ’50s and ’60s racing around this classic circuit. Guests enter into the spirit of the occasion at one of the world’s greatest celebrations of vintage style.

September 20

RIOJA FESTIVAL DINNER The best of Iberian food and wine at The Kennels.

September 21

DOGHOUSE AT THE HANGAR It’s party time at the Motor Circuit.

October 18

OKTOBERFEST Bavaria comes to Goodwood, complete with The Oompah Band.

November 2 and 5

BONFIRE NIGHT Fireworks and fun at The Kennels.

November 3

BREAKFAST CLUB Eighties Sunday – a hearty breakfast and amazing cars.

December 13 and 14

APRES-SKI Dig out your skiwear and head to the Putting Green at The Kennels for an outdoor Christmas party.

COSTUME DRAMA Get ready to dress the part at this year's Goodwood Revival

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CALENDAR

P H A N TO M #7: Make sure Phantom is clean, tidy and presentable Discover Phantom at your local dealership

Rolls-Royce Motor Cars P & A Wood Great Easton, Dunmow, Essex CM6 2HD (+44) 01371 852000 Rolls-Royce Motor Cars Sunningdale London Road, Sunningdale, Berkshire SL5 0EX (+44) 01344 286 339

Rolls-Royce Motor Cars Birmingham 2635 Stratford Road, Hockley Heath, Solihull B94 5NH (+44) 01564 787170

Rolls-Royce Motor Cars Edinburgh One Corstophine Road, Edinburgh EH12 6DD (+44) 0131 4421000

Rolls-Royce Motor Cars London Rolls-Royce Motor Cars Manchester Berkeley Square House, Berkeley Square, Mayfair, Deanway Technology Centre, Wilmslow Road, London W1J 6BR (+44) 020 3053 0767 Wilmslow, Cheshire SK9 3FB (+44) 01625 416250

Rolls-Royce Motor Cars Leeds JCT600 Brooklands, Ring Road, Lower Wortley, Leeds, Yorkshire LS12 6AA (+44) 0113 389 0700

NEDC: Emissions Combined 329-328 g/km and Fuel Consumption Combined 19.5-19.6 mpg / 14.5-14.4 l/100km.

WLTP: Emissions Combined 356-341 g/km and Fuel Consumption Combined 18.0-18.8 mpg / 15.7-15.0 l/100km.

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Figures are for comparison purposes and may not reflect real-life driving results, which depend on a number of factors including the accessories fitted (post-registration), variations in weather, driving styles and vehicle load. All figures were determined according to a new test (WLTP). The CO2 figures were translated back to the outgoing test (NEDC) and will be used to calculate vehicle tax on first registration. Only compare fuel consumption and CO2 figures with other cars tested to the same technical procedure. Š Copyright Rolls-Royce Motor Cars Limited 2019. The Rolls-Royce name and logo are registered trademarks.

CALENDAR

September 13 – 15

PREVIOUS PAGE: JURGEN VOLLMER. ABOVE: GETTY IMAGES MARY EVANS PICTURE LIBRARY

feeling groovy

The sounds, sights, styles and dynamism of the 1960s will be a feature at this year’s Revival – looking back to the moment when British music and fashion became the dominant force in global culture. The celebration to mark 60 years of the Mini will feature cars that belonged to prominent figures, from The Beatles to Cilla Black, as we sing the praises of this pint-sized automotive icon. We get into the groove at Carnaby Street (above) – the heart of Swinging London – and relive the styles it launched, from mini- and maxi-skirts to the military jackets worn by Jimi Hendrix and other members of “the Carnabetian army” described in The Kinks’ Dedicated Follower of Fashion.

We also revive the Sixties yo-yo craze, and that urban institution as redolent of the era as a beehive hairdo, the Launderette. And last but not least, a respectful nod to The Beatles’ Abbey Road album, made 50 years ago this year.

LET’S RIFF AGAIN... Look (and listen) out for Seven Decades, a celebration of the electric guitar bringing to life historic instruments like George Harrison’s 1958 Futurama (as seen on our cover) from the collection of Phillip Hylander. This pop-up version of a highly-rated show recreates a 1950s recording studio – animated

with hourly guitar demonstrations.

Hylander, who is passionate about these guitars and their stories, and who is also the show’s producer, has assembled a stellar team including musical director Michael John Ross, guitarist Roy Sudan, producer Bill Curbishley (long associated with The Who) and set designer Broa Sams

89

CALENDAR

Am I ready for the passenger seat?

Simon Kidston.

Classic car collector and broker.

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The value of investments may fall as well as rise and you may not get back the amount originally invested. © UBS 2019. All rights reserved.

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CALENDAR

September 13 – 15

roaring back

Highlights of this year’s Revival include a spectacular all-Bentley race in this, the centenary year of the iconic British marque, and a celebration of the homespun success that was the Cooper Car Company, with a recreation of the Royal Automobile Club 1959 TT race. We commemorate the anniversary of the D-Day Landings (in which RAF Westhampnett played a major part), the epic military endeavour that brought the likes of “Ike” Eisenhower to nearby Chichester. We celebrate the life of Stirling Moss, multiple championship winner and Goodwood regular, in his 90th birthday year. And of course there are all the cars, motorcycles and aircraft you would expect to see in this celebration of a golden era at Goodwood, with a crescendo of racing glory on Super Sunday, including the Whitsun Trophy, the fastest competition of the event.

Bristol Scout; a Focke-Wulf Fw44 from 1936; a 1941 Klemm 35, designed as a trainer for the Luftwaffe; a spectacular 1939 Douglas C41A, with its original bare-metal finish, used by military VIPs during World War II; and a 1951 Hawker Sea Fury T20

INDIRA FLACK

THE SKY'S THE LIMIT... The Freddie March Spirit of Aviation is a magnificent concours d'elegance for pre-1966 aircraft, presented by Bonhams, which always includes rarely-seen machines. Some of this year's highlights include a 1914-type

THE MAN, THE LEGEND Left: this year at Revival we celebrate the life of Sir Stirling Moss in this, his 90th birthday year. His astonishing relationship with Goodwood began with a brilliant drive at the very first race meeting held at the Motor Circuit in 1948. Top: marking Bentley's centenary year

91

CALENDAR

Make your own rules.

Drive the Grand Tourer that defies convention.

New GT Official fuel consumption figures in UK L/100km (CO2 grams per km) for the McLaren Super Series 4.0L (3,994cc) petrol, 7-speed Seamless Shift Dual Clutch Gearbox (SSG): Low 23.3 (528), Medium: 12.9 (293), High, 9.2 (209), Extra-High, 10.2 (230), Combined 12.2 (276). The efficiency figures quoted are derived from official WLTP test results, are provided for comparability purposes only, and might not reflect actual driving experience.

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cars.mclaren.com

CALENDAR

WINTER WONDERLAND Guests staying at the Goodwood Hotel for Christmas or New Year will enjoy entertainment and a magical atmosphere

November – December

FESTIVE Goodwood

With celebrations and even après-ski parties, autumn and winter at Goodwood offer up all kinds of treats. As always, there are plenty of foodie moments – from a Rioja festival to the ever-changing menu at Farmer, Butcher, Chef, the highly-regarded, highly sustainable restaurant just a few steps from Goodwood Home Farm. For the festive season, highlights include a Christmas Market at The Kennels, chocolate-making and, of course, carols. And for an effortlessly pleasurable three-night Christmas break or to see in the New Year in style, head to The Goodwood Hotel.

For more information visit goodwood.com/stay-dine-relax/ the-goodwood-hotel IT’S A DOG’S LIFE The Kennels is a year-round haven and centre of hospitality at Goodwood

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finish This Fender Stratocaster guitar was made in 1959 – the year Che and his rebel army marched into Havana, and the Daytona International Speedway was completed. It was also known as “the year that rock ’n’ roll died”, explains collector and music aficionado Phillip Hylander, whose guitars grace this issue’s Cover, Start and Finish (and will be appearing in his Seven Decades pop-up installation at Revival, p89). The basis for that extraordinary claim?

Well, in 1959 Buddy Holly died in a plane crash, Elvis was sequestered in the US Army and Little Richard got religion (for a while at least). But this was also the year that American electric guitars – long embargoed as Britain sought to manage the balance of payments – were first imported to Britain. Hank Marvin owned one much like this, in “fiesta red”. And in just three years’ time, British bands like The Beatles would begin exporting rock ’n’ roll back to the land of its birth. Rock ’n’ roll hadn’t died, it had migrated.

LAP OF HONOUR

A founder member of legendary rock band Pink Floyd, drummer Nick Mason is also an avowed petrolhead who races classic cars and has competed five times in the 24 Hours of Le Mans. A renowned collector of vintage automobiles, he owns one of the world's most valuable – bought in 1977 with the proceeds of Dark Side of the Moon – a Ferrari 250 GTO, of which only 39 were built.

Nick Mason MY FIRST CAR was an Austin Seven Chummy that I was expected to fettle myself. But my father’s idea of a good time was to fiddle around with an old car so he ended up spending longer on it than me.

PEOPLE CAN’T BELIEVE IT when they see me driving the GTO. I paid £37,000 for it [it’s now worth about £50m]. What’s so great about it? It does seven out of 10 things magnificently. Most cars only do three.

Plus it looks gorgeous, it’s incredibly well balanced, and it’s got history. Not much room for luggage though.

IF I HADN’T STARTED PINK FLOYD [with Roger Waters, when they were both students at Regent Street Polytechnic] I would probably be an architect. I had already done four years of my training when we formed the band – and I still have a weakness for building things.

TWO OF MY TUTORS AT REGENT STREET were Richard Rogers and Norman Foster. I didn’t realise what big figures they were going to be, any more than they realised what Roger and I were going to be. We viewed each other with a certain amount of disdain, I suspect! I still see Norman occasionally.

IF I WERE GOING TO HAVE A HERO, it would be a racing driver not a musician.

Sportspeople make much better heroes.

I’d go for Stirling Moss – a hero from my childhood who has gone all the way through.

He’s such an enthusiast as well as being brilliant at what he does.

I DECIDED TO TOUR AGAIN [with his new band, A Saucerful of Secrets] in part because of the V&A’s Pink Floyd exhibition. I really enjoyed working on it but it made me feel a bit like a relic, a bit English Heritage. And I was missing playing music to an audience and the camaraderie of a band.

I BECAME A DRUMMER because my friend who was starting a band already had a guitar and I was damned if I was going to be the bass player. Drummers need a certain ability to get on with people, because you can't do it on your own. It's a bit like being a celebrity chef – you’re in the kitchen, but you occasionally pop out to say hello. So maybe I'm the Heston Blumenthal of the bongos.

THERE ARE CARS I COVET but I can’t tell you which they are or the car dealers go mad.

I INCREASINGLY PREFER OLD CARS, because you can work on them. You open the bonnet of a modern supercar and they have a sheet of something expensive saying: “Do not touch. You’ll almost certainly die and you’ll void the guarantee.”

THE MOST MEMORABLE DRIVES of my life were the five times I raced at Le Mans, from 1979–84. Just to be out there, racing against a gridful of heroes, was wonderful.

I WAS AT THE VERY FIRST FESTIVAL OF SPEED – I did the first Hillclimb. It was amazing running the GTO in the TT and having co-drivers like John Surtees and Damon Hill – all my heroes – wanting to climb in the car with me.

WHAT ADVICE WOULD I GIVE MY 18-YEAROLD SELF? Oh, that’s easy – buy more cars!

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ILLUSTRATION BY ELIZABETH MOCH

I WAS BROUGHT UP IN A MOTORING FAMILY. My father, Bill Mason, raced a vintage Bentley. He was a filmmaker who made a whole series on motor racing for Shell.

LAP OF HONOUR

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Cars | Fashion | Farming | DesignVintage | Dogs | Horses | Vintage | Tech | Food | & living Cars Fashion Farming Dogs Horses Tech Food & Living the the life life

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This financial promotion is issued by CRUX Asset Management Limited who are regulated by the Financial Conduct Authority (FRN: 623757). The value of an investment and the income from it can fall as well as rise and you may not get back the amount originally invested. Past performance is not a guide to future performance.

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