GOODWOOD | ISSUE 32

GOODWOOD

Cars | Fashion | Farming | Dogs | Design & Tech | Horses | Vintage | Good Food & Healthy Living

The C of Chanel will be removed on lipstick

Paint it red AUTUMN / WINTER

Paint it red Autumn / Winter 2025

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A TIME FOR CELEBRATION

WELCOME TO THE AUTUMN/WINTER EDITION OF GOODWOOD MAGAZINE.

As late summer edges into the early days of autumn, it’s time to enjoy this most golden part of the year in style. Revival has become the world’s largest historic motorsport and vintage fashion event, a gathering in the South Downs that welcomes 150,000 people. This year we honour the motor racing legend whom many regard as the greatest driver of all time, Jim Clark.

Revival will pay tribute to Jim on the 60th anniversary of his miraculous 1965 season, in which he won his second World Championship and the Indy 500. Read about what makes him quite so revered on p50.

We salute the 75th anniversary of that counterculture favourite, the VW Type 2 Camper, on p18, and, at the other end of the smartness scale, the centenary of the Rolls-Royce Phantom on p24. It is also a particular pleasure to feature in these pages some of our most loyal Revivalists: the vintage fashion fans whose passion, extraordinary attention to detail and sense of fun bring such an elevated sense of style to this event. Meet them on p44.

Elsewhere, we talk to Twiggy, the ultimate icon of the Swinging Sixties, who went on to a stage and screen career of much acclaim (p36). In our fashion shoot (p56), we are thrilled to showcase the striking sculptural lines of both the new season’s collections and the wonderful galleries and pavilions of the new Goodwood Art Foundation. The start of harvest season feels like a fitting time to explore the importance of the earth beneath our feet. Read why farmer, campaigner and Goodwood Wellness Summit speaker Patrick Holden believes that soil is at the heart of our health (p92).

We also profile some of the local makers and menders helping to keep ancient crafts alive (p66).

Finally, we salute the timeless glamour of red lips on our cover. It is more than a century since Coco Chanel launched her first lipstick collection, and many Revival fans will be sporting this very same look 100 years later.

Vintage fashion or wellness, motorsport or horseracing, organic food or art – whatever your passion, we hope to see you very soon here at Goodwood.

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LETTER FROM THE DUKE OF RICHMOND AND GORDON

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CONTRIBUTORS Editorial Editor Sophy Grimshaw Art director Vanessa Arnaud Editorial directors James Collard Gill Morgan

Richard Williams

Jodie Nellist

David Robson

An author and journalist who has written on music and sports for titles such as Melody Maker, The Guardian and The Times, Richard’s books include Dylan: A Man Called Alias and Enzo Ferrari: A Life. With Goodwood Revival displaying some of Alfa Romeo’s most celebrated racing cars, he looks back on the marque’s amazing story on page 32.

An accomplished stylist with more than 20 years of industry experience, Jodie has contributed to ELLE, Harper’s Bazaar, Marie Claire, Fashion Monthly, Hello! and L’Officiel, among others, as well as styling and art directing global advertising campaigns. For this issue, on page 56, she styles our first fashion shoot at Goodwood Art Foundation.

An award-winning science writer specialising in the extremes of the human brain, body and behaviour, David’s newest book is The Laws of Connection. He has contributed to titles including New Scientist, BBC Future and The Atlantic.

On page 92 he speaks to Goodwood Wellness Summit speaker and soil health campaigner Patrick Holden.

Creative director Sara Redhead Sub-editor Damon Syson Picture editor Emma Hammar Project director Sarah Glyde

Goodwood managing editor Jennie Gott Goodwood junior picture editor Max Carter

Orlando Gili

Hannah Betts

Giles Chapman

A portrait and documentary photographer whose images have featured in The Sunday Times Magazine, FT Weekend, The Guardian, Time Out, Telegraph Luxury and more, Orlando has received a number of awards including 2024’s Portrait of Britain. His photo of fashion designer Giles Deacon, shot in Deacon’s studio, graces our Men’s Style section, on page 88.

Our columnist Hannah Betts writes regularly on topics ranging from politics and feminism to relationships, beauty and style for a host of newspapers and magazines, including The Times, The Telegraph, The Daily Mail and The Critic. A lifelong lover of vintage clothing, in this issue, on page 86, she reveals her ultimate sartorial objects of desire.

An author and broadcast journalist, including for BBC Radio, Giles specialises in automotive history. His many books include The VW Camper Story, and on page 18 he considers the appeal and myriad cultural associations of the VW Type 2 Camper. The fabled vehicle will be celebrated – and present in force – at Goodwood Revival 2025.

For all advertising and editorial queries, please contact Goodwood via magazine@goodwood.com

C IRCE HAMILTON C OURT ESY OF T HE TIMES

Goodwood content director Will Kinsman

Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX,

by Uncommonly Ltd, 30-32 Tabard Street, London SE1 4JU. For enquiries regarding Uncommonly, contact Sarah Glyde: sarah@uncommonly.co.uk

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© Copyright 2025 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.

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CONTENTS Shorts

PART 1

PELLE CREPIN

Contacts.............................................. 16 Jill Furmanovsky’s portrait of Charlie Watts, 1991 Happy campers................................18 Counterculture classic the VW Type 2 Camper turns 75 Poetic licence...................................21 Leigh Lawson’s first book of verse Look and feel....................................22 Learn to appreciate art and nature with this inspirational new book Phantom returns............................24 A century of Rolls-Royce Phantom History in the making.................27 Collectible vintage cookery books Track days...........................................28 Remembering George Harrison’s passion for motorsport Fine and dandy................................30 Goodwood Revival “Best Dressed” compere Dandy Wellington Badge of honour.............................32 Alfa Romeo’s F1 glory days

Look and feel p22 Lines of beauty p56

Stories

PART 2

“I definitely didn’t look like the other models of the period…

I was this funny, skinny little kid”

ORL ANDO GILI

The Goodwood Interview In conversation with model, actress and icon Twiggy....................................................... 36 Meet the Revivalists Sartorial inspiration from Revival’s most stylish guests.............................................................. 44 Reluctant hero The life and legacy of shy farmer turned racing legend Jim Clark.......................................................50 Lines of beauty Sculptural fashion photographed at Goodwood Art Foundation...............................................

56 Hands of time The skilled local artisans keeping endangered ancient crafts alive......................................................66 Absolutely fabulous Remembering Cecil Beaton’s extraordinary talents........................................................................ 74

Men’s style p88

Good life

PART 3

Women’s style The allure of vintage sunglasses............................................84 Men’s style Giles Deacon checks in to Purdey..............................................88 Wellbeing Why soil is vital for our future health..........................................92 Food and drink The growing popularity of raw milk..................................96

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The Goodwood Interview Twiggy p36

PLUS Cover story: classic red lipstick p12, Calendar p99, Photo finish: two generations of the Gordon Lennox family, Gordon Castle, 1870s p104

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COVER STORY

P HOTO GRAPH Y BY AARON TILLEY

Classic lipstick

“IF YOU ARE DISAPPOINTED IN LOVE, PUT ON YOUR MAKEUP, give yourself some beauty care, put on lipstick, and attack,” said Gabrielle “Coco” Chanel – clearly not a woman to disappoint in love or, come to think of it, in anything. Chanel had a keen understanding of the power of image, and of branding. She didn’t invent lipstick – the ancients applied concoctions such as white lead mixed with crushed red rocks or, in Cleopatra’s case, crushed cochineal bugs, to their lips. But she knew what she was doing when, a little over a century ago, she launched the beauty arm of her fashion house and, with it, lipsticks that women decided were a cut above what had come before. These creamy creations in bold red hues were a delight to apply: sensual, luxurious, sexy.

Chanel also knew the impact of packaging, and sold her lipsticks in the newly invented swivel-up tubes crafted in luxurious materials. The appeal endures. Witness Rouge Allure on our cover, in iconic Pirate shade, or, pictured here, 31 Le Rouge – named after the Chanel store on Paris’s rue Cambon. Not where it all started, perhaps, but very much where lipstick raised its game.

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Shorts PART 1

Noted: people, objects, news and ideas, from collectible cookbooks and nature-themed art to 75 years of the VW Camper and remembering Alfa Romeo’s sporting glory days

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Jill Furmanovsky, Charlie Watts, 1991 WORDS BY MATTHEW DAVIS

For decades, the Rolling Stones have been synonymous with rock ’n’ roll swagger and excess – with the notable exception of their debonair drummer, the late, great Charlie Watts. A cool, understated sticksman, he preferred Miles Davis to Elvis Presley, and sharp Savile Row tailoring to the garish pink suits and pirate clobber favoured by Mick Jagger and Keith Richards.

A regular visitor to Goodwood Revival, Watts was nothing if not unassuming: though he is often namechecked as one of the all-time drumming greats, he described himself as “not particularly talented”. His offstage life was equally low-key: when the Stones visited the Playboy Mansion, he stayed in the games room, playing pool, until he could slip away discreetly.

It therefore comes as no surprise that when the music photographer Jill Furmanovsky won an Observer portrait award in 1992 for this tender picture of the drummer, taken at the Halcyon Hotel in London in March 1991, he sent her a letter of congratulation, splendidly signed “CR Watts (drummer of the Rolling Stones)”. As Furmanovsky later put it: “How modest is that?” She told the BBC that winning the award encouraged her to keep going during

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a “tough time”, when she had considered giving up photography altogether.

The award heralded a new chapter for Furmanovsky, who in the 1970s had shot superb pictures of Pink Floyd, Led Zeppelin, Bob Marley, Iggy Pop, Blondie and Joy Division. In 1994, she became Oasis’s photographer, capturing the Gallagher brothers at their best – and sometimes worst – on their supersonic rise to stardom. A selection of these classic images can be seen at the Lucy Bell Gallery in St Leonards-on-Sea until September 28.

Furmanovsky became Abbey Road’s first photographer in residence in 2014, and in 2024 received the Icon prize at the studio’s Music Photography Awards. It was a fitting reward for someone who came to Britain from what was then Rhodesia in 1965, aged 11, and became one of the “Apple scruffs” – diehard Beatles fans who waited outside Abbey Road for a glimpse of the Fab Four. Her first foray into rock photography was a snap of Paul McCartney taken on a Kodak Instamatic – the start of a lifetime’s creative journey.

A limited print of this contact sheet of Charlie Watts by Jill Furmanovsky is available to purchase from rockarchive.com

© JIL L FURMAN OVS KY

Winning a portraiture award for her image of the Rolling Stones drummer encouraged the now-celebrated music photographer to continue on her creative journey

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Opposite: Furmanovsky’s photo of Charlie Watts won the Jane Bown Observer Portrait Award (1992)

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GET TY IMAGES / PAUL POPPER / POPPERFOTO

Happy campers WORDS BY GILES CHAPMAN

Loved by hippies, surfers and adventure-seekers the world over, the VW Type 2 Camper has just turned 75 – and will be celebrated at this year’s Goodwood Revival In the motoring universe, no mechanical workhorse has ever come to symbolise freedom quite like the VW Camper. And for a vehicle made lovable as a surfers’ minibus in California and the “fried-out Kombi” of the Australian wilderness (thank you, Men at Work, for the wondrously itinerant characters in your lyrics), there’s a bit of rainy Britain in this ever-dependable van.

The Camper was never actually planned; it coalesced.

When, in 1950, Volkswagen launched its Type 2, the simple Transporter delivery van with its air-cooled engine in the back like the Beetle passenger car, it was into a world rediscovering leisure after World War II. A year later, a company called Westfalia-Werke started to sell a kit to install beds for two adults and two children into a Transporter. But only when British firm Dormobile invented a side-hinged roof, which swung up like a giant accordion, could you stand up inside to fry eggs on a tiny hob. The Camper was born, and Transporter Kombis were transformed into cosy “motorhomes” worldwide.

Other cult motoring classics attain their kudos through speed or style. The Camper does without the former,

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instead relying on its utility, practicality, retro-chic looks and boundless capacity for customisation. When you set out in a Camper, you know you’re going to be in it for a long time – day and night, music festival or multi-state odyssey – so it needs to be as comfy as your favourite flip-flops and faded T-shirt.

This counterculture stalwart might as well be equipped with flower power, such is the plodding performance delivered by that rear-mounted, air-cooled engine, with its distinctive judder. Yet its reliable engineering, compact dimensions and surprising sense of space have earned the Camper a legion of fans down the decades, from beatniks to suburban families, touring musicians to wilderness explorers. Then there’s the experience of being out on the road, which feels closer to driving a lorry than a car – once you’ve got to grips with the near-horizontal steering wheel, you can enjoy the nose-to-thewindscreen, bonnet-less view of the unfolding vista ahead.

The Track Opening Parade at Goodwood Revival, 12-14 September 2025, will feature a collection of VW Type 2 vans, including a range of Campers

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Above: Lawson with co-star Nastassja Kinski in Tess

Poetic licence WORDS BY SOPHY GRIMSHAW

AL AMY

Leigh Lawson’s first poetry book marks a new creative chapter for the celebrated British actor, whose career spans more than five decades “People always think that life as an actor is glamorous, and indeed it is a lot of the time, but there’s also a lot of time on your own – particularly if you’re on tour or on location,” says Leigh Lawson. The veteran British theatre and film actor has appeared on stage since the 1960s, in productions on London and Broadway such as The Merchant of Venice, opposite Dustin Hoffman, and the Michael Frayn farce Noises Off. His movies include 1979’s Tess, Roman Polanski’s multi-Oscar-winning take on Thomas Hardy’s Tess of the d’Urbervilles.

“There are poems in Now and Then that I never expected to be published when I wrote them,” explains Lawson, now 80, of his first poetry book. Often witty, sometimes dark, it brings together verse written throughout his life – in a lively, accessible style, with an actor’s ear for rhythm. Lawson’s subject matter includes grief, parenthood, the arts (including his hero, Dylan Thomas) and fame. In You Gave Me None of That, he writes with unflinching clarity about his violent, then absent, father: “I could go on, the list is long / Of

what you failed at / But love was what I missed the most / You gave me none of that.” In contrast, the closing Look For Me, which is rich in natural imagery – “Look for me in springtime / Hear me in the cuckoo’s call” – is dedicated to Lawson’s son, Ace. Several readers have told Lawson they have chosen its uplifting message, of love enduring after death, for a funeral reading.

Lawson had no publisher when he was persuaded to read his poetry on stage at Barnes Book Festival in 2024 by his friend, the broadcaster Gyles Brandreth. “Afterwards,” says Lawson, “the organisers told me that some 50 members of the audience had asked to be sent details of the book if it was published. I was so touched.” As we speak, Lawson is considering an offer to head to Prague for a film role, and has his eye on a second poetry book. “I’m blessed with health and I’m still excited about the arts,” he says.

“If even just one or two people find a poem that means something to them in my book, the journey hasn’t been in vain.”

“Poems Now and Then” by Leigh Lawson (Flapjack Press) is out now

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Look and feel WORDS BY GILL MORGAN

A remarkable new book champions the practice of “slow looking” – advising us to put down our phones and take the time to properly absorb art and nature

Right: Paul Nash’s Flight of the Magnolia, 1944

“Have you ever considered your looking practice? What do you notice about your immediate environment?” asks art historian Olivia Meehan in her introduction to the mesmerisingly beautiful new book Slow Looking: The Art of Nature. Divided into three sections: Land, Water, Sky, the book is a visual feast that ranges across centuries, continents and styles. Featuring artworld giants as varied as John Constable, Georgia O’Keeffe, Paul Cézanne and David Hockney alongside more contemporary figures and less wellknown names, the book also acts as a kind of manifesto, imploring us all to slow down and, crucially, to put our phones away; to look, think and dream.

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For many of the artists featured in the book, the natural world is a starting point, a way of wrestling with an abstract idea. The British artist Paul Nash, who had a lifelong love of landscape, experimented with increasingly surrealist, magical interpretations later in his career. In Flight of the Magnolia, pictured here, he imagined a giant flying bloom, mingled with a delicate cloudscape. Painted in 1944, and influenced by his work as a war artist with the Air Ministry – his writings at the time show him preoccupied with ideas of flying, death and the soul – it is an achingly beautiful painting.

Meehan, a writer and academic who describes her research areas as

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“observation and imaginative practice”, makes the point that art galleries are good places to engage in “slow looking”: eschew reading the caption first, or googling a fact about the artist; simply let your eyes soak up what is in front of you. It’s an approach that is at the heart of the Goodwood Art Foundation, where the artworks are displayed in a natural environment that invites calm, contemplative looking. As the foundation’s landscape designer Dan Pearson explains: “We have created a series of spaces that help to unlock the senses, so you are more able to interact with the work shown within that space.”

The natural world, of course, is where looking begins for most of us, so it’s hardly surprising that artists find inspiration there. Young eyes have an inherent fascination with the natural world: we are born slow lookers.

It’s only as we grow older, focused on our busy lives and distracted by technology, that so many of us forget to properly absorb what’s right in front of us. “To see a World in a Grain of Sand and a Heaven in a Wild Flower”, as William Blake memorably put it. This lovely book is a good place to start.

“Slow Looking: The Art of Nature” (Thames & Hudson) is published on 18 September 2025

SLOW LOOKING

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A L A MY

Above: Marlene Dietrich poses with her brand-new Rolls-Royce Phantom I on the set of Morocco in 1930

Phantom returns WORDS BY JAMES COLLARD

For a century, it’s been the flagship model of the world’s most aspirational marque. As other luxury vehicles have come and gone, why has the Rolls-Royce Phantom endured?

The Rolls-Royce Phantom is renowned for making a dramatic, sweeping entrance – our late Queen arriving in state, a movie star rolling up for a premiere. Or, rather strikingly, Marlene Dietrich, shown here in 1930 with her own Phantom, a recent gift from her new studio, Paramount. It was dispatched by train to star alongside Dietrich and Gary Cooper in Morocco, her first Hollywood movie. Given that the Rolls-Royce Phantom is now a century old, this is a model with singular staying power.

Like many British carmakers, Rolls-Royce has had its ups and downs, but right now, as part of the BMW Group and based on the Goodwood Estate, this period surely counts as an up. Indeed, some 120 years after it was founded by Charles Rolls and Henry Royce, the marque remains synonymous with automotive excellence and high status. An internationally understood symbol of success, it is one of the world’s most famous luxury brands, and when anything is described as “the Rolls-Royce of…”, everyone knows precisely what that means.

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A Phantom VIII coming off the assembly line at Goodwood in 2025 bears little resemblance to the early models made at Derby, England and Springfield, Massachusetts, which all left the factory as unfinished chassis in what was then the heyday of bespoke coachbuilding. Dietrich liked to be chauffeured around Hollywood; today, many owners prefer to drive themselves, while the engine is an altogether different beast – although then, as now, the Phantom is partly named in honour of its quietness. Stealth wealth, indeed; at least when it comes to engine noise. But the Spirit of Ecstasy still flies above that Pantheon grille, and the aura of power and luxury remains. And, given that the current expansion of RollsRoyce’s facilities is largely down to the exponential growth in demand for bespoke cars, it is clear that despite its ghostly moniker, Phantom isn’t about to disappear anytime soon.

A variety of Rolls-Royce Phantoms will be featured as course cars at Goodwood Revival 2025

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History in the making WORDS BY GILL MORGAN

Combining long-forgotten dishes with snapshots of past lives, seasoned with striking illustrations and a soupçon of kitsch appeal, vintage cookbooks are becoming increasingly collectible “Cookery books offer a history you can quite literally sink your teeth into,” says Anna Middleton of Peter Harrington Rare Books. “The kitchen has long been the heart of the home, and its stories are often best preserved in these texts. Cookbooks are rarely just recipes. They contain hidden histories, personal anecdotes and philosophies for life.”

This intimate window on lost worlds is central to the appeal of collecting vintage cookery books. Peter Harrington’s current star volumes include a first edition (1714) of Mary Kettilby’s Collection of Above Three Hundred Receipts in Cookery, Physick and Surgery, which comes complete with 18thcentury food stains. They also have several copies of The Alice B Toklas Cook Book. Offering a unique lens onto the bohemian world of early-20thcentury Paris, “It includes the notorious recipe for Haschich [hashish] Fudge, given to Alice by the artist Brion Gysin,” says Middleton.

Many cookbooks feature striking illustrations, notably John Minton’s for Elizabeth David’s books on Mediterranean food – so beloved of the post-war Habitat classes – and Eric Ravilious’s drawings in Ambrose Heath’s The Country Life Cookery Book (Heath specialised in robust and prosaically titled books such as Good Dishes from Tinned Foods). As Middleton says, “Cookery book illustrations often go far beyond the functional. Illustrators frequently take the opportunity to be playful and expressive.”

More recent, and less elevated, recipe books have an equally passionate following. Sometimes hilarious, always entertaining, and occasionally even vaguely useful, titles from the post-war era onwards have a particular kitsch appeal. From recipes for quick meals to be cooked by working mothers (The Busy Woman’s Cookbook, 1972) to the arrival of celebrity into the cookbook arena (Cooking with Columbo) and the volumes dedicated to microwave gastronomy, this was an era of experimentation, not all of it good. There is also a strong whiff of Abigail’s Party-style social anxiety seeping into the 1970s kitchen, with convoluted guides to hosting the perfect drinks party and menus awash with fondues, beef stroganoff and Black Forest gateau.

To research this era of cookbooks is to descend into a rabbit hole of recipe nerds, Instagram reels, forums and supper clubs where vintage cookbook fans share titles and recipes. The Instagram account @70sdinnerparty has nearly 200,000 followers, who revel in the silly book titles, bubble font typography and bizarre dishes. Tuna and pear pizza, anyone?

And the perfect title for Goodwood fans? Surely Picnics for Motorists

by Hilda Leyel (1936). Its epigraph reads: “This little book was inspired by a picnic near Itchenor, given in the summer of 1935 by the owner of a white Peke to the owner of a white Alsatian.” Dogs, a bit of a spin, and a spot of lunch in the West Sussex countryside: what could be better?

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Track days

WORDS BY SOPHY GRIMSHAW

AL AMY/ AP IMAGES

George Harrison is famed for his contributions to music, philanthropy and spirituality, but it may come as a surprise to many that he was also an F1 superfan and a regular visitor to Goodwood Festival of Speed

Right: George Harrison with his friend Emerson Fittipaldi, at the Canadian Grand Prix, 1980

With four Sam Mendes-directed Beatles biopics due for release in 2028, commentators have sought new angles on the most written-about band of all time. A revelation to some music fans, but not to the motorsport community, was fresh discussion in 2025 of George Harrison’s quiet dedication to F1. Harrison was a familiar sight at European circuits in the 1970s and ’80s, and developed lasting friendships with a number of drivers, including Jackie Stewart. In 1993 he attended the inaugural Goodwood Festival of Speed, where he was invited to drive his Light Car Company Rocket – co-designed by his friend Gordon Murray – up the hill.

Harrison’s interest in motorsport was first piqued at the age of 12, when his father took him to Merseyside’s Aintree race track to watch the 1955 British Grand Prix, which saw Stirling Moss edge out his Mercedes-Benz teammate Juan Manuel Fangio. “George became a regular at Aintree,” says Bill Harry, creator of the seminal 1960s music paper Mersey Beat, who knew Harrison and the Beatles personally. “[He] would sit eating his sandwiches on the Railway Straight embankment, watching the races.”

In 1956 Harrison wrote an earnest letter to British F1 team Vanwall, explaining, “I am very interested in racing cars […] I would be pleased if you could possibly send me some photographs of your cars to add to my collection.” In time, his “collection” would become a fleet of actual vehicles

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that included a purple McLaren F1. “George lost touch with his racing passion for a while during the Beatle years, occasionally watching the races on TV and reading about them in magazines,” says Harry. Yet the friendships he’d forged helped to keep him engaged with F1. “He had a close relationship with numerous racing drivers, and when [Ayrton] Senna died, George said he was almost as shocked as when John Lennon died.”

It was after the Beatles spit that Harrison went full throttle, attending motorsport events throughout the 1970s and ’80s, including Grands Prix in the USA, Brazil and Australia. His 1979 solo single Faster is a musical paean to motor racing. The song referenced Niki Lauda and had a title inspired by Jackie Stewart (who appeared in the video as a chauffeur, wearing a white cap with a Stewart tartan band), with proceeds donated to Swedish driver Gunnar Nilsson’s cancer charity.

“It was always interesting to see, in other areas of life, who was wearing the long hair,” Harrison said in 1979. “Jackie Stewart became the world champion [in 1969] and he was the first guy with long hair and who had opinions, and he was a big Beatles fan. I had a book that Jackie Stewart had written which was called Faster […] and once I got the title, I was away.

I wanted to write [a song] that would also relate to people who weren’t into motor racing.” Maybe the two worlds were never so far apart, after all.

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Catalogue now online Collectors’ Motor Cars and Automobilia

REVERSED

Goodwood, Chichester | 13 September 2025

ENQUIRIES +44 (0) 20 7468 5801 ukcars@bonhamscars.com bonhamscars.com/revival

The Factory approved, one of two R S Williams built, and single owner since 1960 ASTON MARTIN DB4GT ZAGATO SANCTION III Coachwork by Carrozzeria Zagato Chassis no. DB4/424/R £700,000 - 1,000,000 *

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide

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Fine and dandy WORDS BY ALEX MOORE

TIMOTHY O’CONNELL

The ever-stylish Dandy Wellington returns to Goodwood Revival this year, ready to celebrate vintage style (but not vintage values) There are those who scrub up well, and there are those who could have been born in their finery – like bandleader, vintage fashion aficionado and “style activist” Dandy Wellington. His look for our Zoom conversation today is finished off with a bowler hat and pocket square. A New Yorker for whom “life itself is an occasion”, Wellington embodies a Jazz Age aesthetic, informed by heroes of the Harlem Renaissance: Duke Ellington, Langston Hughes and Louis Armstrong.

If there’s a convincing argument for not donning one’s nattiest ensembles day in, day out, Wellington reckons he’s yet to hear it. There are no dress-down days, as far as he’s concerned. At Goodwood Revival 2025, Wellington will return to compere the daily Best Dressed Competition, a role he’s fulfilled with aplomb for the past three years.

“Revival is an opportunity to drape ourselves in the elegance of the past,” says Wellington. He loves the fact that the competition entrants are “manifesting vintage styles through personal stories and self-expression”. But he’s quick to add that it’s vital to make the distinction between fashion inspiration and untrammelled nostalgia. “Though my clothes and style may be old time-y,” he says, “my perspective on social issues is not.” To explore this idea further, Wellington will host a series of talks at Revival under the banner “Vintage Style Not Vintage Values”, including on-stage interviews with British fashion and textile designer Zandra Rhodes, and burlesque star Dita Von Teese, who returns to Revival for the second year in a row.

“They’re both giants in their own right,” says Wellington of Rhodes and Von Teese. “Not least in the way they understand fashion and its role within culture, how it opens different doors and allows us to express our individuality.

They recognise that fashion is a portal into someone’s psyche, into their hopes and their dreams.”

Dandy Wellington appears at Goodwood Revival, 12-14 September 2025

Left: vintage fashion aficionado Dandy Wellington will compere the Best Dressed Competition at Goodwood Revival

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Badge of honour WORDS BY RICHARD WILLIAMS

Epic rivalry, underdog victories and the making of a young Enzo Ferrari – Alfa Romeo’s extraordinary team story is the stuff of legend Nothing evokes the romance and glory of motor racing more vividly than the image of the immortal Tazio Nuvolari at the wheel of a cherry-red Alfa Romeo between the two world wars.

Perhaps he’s kicking up dust while hurtling around a hairpin bend in the Apennines on his way to victory in the 1930 Mille Miglia, or beating the all-conquering German teams on their home ground at the Nürburgring in 1935, one of the sport’s great underdog triumphs.

Founded in Milan as ALFA in 1910 and acquiring its full name after an early takeover by Neapolitan engineer Nicola Romeo, Alfa Romeo had the racing habit from the start.

A first win in the Targa Florio, the Sicilian classic, came in 1923, with Ugo Sivocci, the firm’s test driver, at the wheel.

A year later, the young Enzo Ferrari, Sivocci’s protégé, took an Alfa to victory in the first Coppa Acerbo over an epic 15-mile circuit in Pescara, on the Adriatic coast.

Before long, the cars were winning top-line Grand Prix races in the hands of Antonio Ascari and the part-time opera singer Giuseppe Campari. In 1925, against strong opposition from Bugatti, Delage and Sunbeam, Alfa dominated the first World Manufacturers’ Championship, its P2 cars winning two of the three rounds they contested, only losing the French GP when the team withdrew following Ascari’s fatal accident.

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When Ferrari, having retired from the cockpit, took over the running of the factory’s racing team in 1929, Nuvolari and his compatriot Achille Varzi played out their rivalry across the circuits of Europe. In 1936 Nuvolari travelled to the US to win the Vanderbilt Cup on Long Island, beating all the local heroes.

Returning after World War II with the Tipo 158, known as the “Alfetta”, the team crushed all opposition in 1950, the inaugural season of the F1 World Championship of Drivers.

Nino Farina took that first title, succeeded the following year by his teammate Juan Manuel Fangio, before financial imperatives led to the firm’s withdrawal from F1. Since then, they have come and gone in elite motorsport, with honour if not always glory, achieving a memorable success in the 1975 World Championship for Makes with the 33TT12, designed by the great Tuscan engineer Carlo Chiti and driven by Arturo Merzario, Henri Pescarolo, Jacques Laffite and Derek Bell.

Today, no real enthusiast can glimpse the famous badge bearing the red cross of Milan and the child-devouring serpent of the Visconti family, or the green quadrifoglio (fourleaf clover) first added in 1923 by the superstitious Sivocci, without feeling the echo of legends past.

Goodwood Revival, 12-14 September 2025, will bring together a collection of Alfa Romeo cars dating from 1925 to 1975

Above: Giuseppe Campari celebrates driving his Alfa Romeo P2 to victory in the 1924 French Grand Prix, having been presented with the prize of a12-footlong sausage

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T W I N P E AK S

Singer is not sponsored, associated, approved, endorsed nor, in any way, affiliated with Porsche Cars North America, Inc., or Dr. Ing. h.c. F. Porsche, AG. Dr. Ing. h.c. F. Porsche AG is the owner of numerous trademarks, both registered and unregistered, including, without limitation, the Porsche Crest®, Porsche®, and the model numbers and names and the distinctive shapes of the Porsche automobiles, such as the federally registered 911 automobile. Any mention of Porsche Cars North America, Inc., or Dr. Ing. h.c. F. Porsche, AG. trademarked names or other marks is for purpose of reference only.

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Stories PART 2

Tales worth telling, from Jim Clark’s remarkable talent to interviews with some of our best-dressed Revival guests. Plus: The Goodwood Interview with Twiggy

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THE GOODWOOD INTERVIEW N06 WITH TWIGGY WORDS BY JULIA LLEWELLYN SMITH

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N IC K HADDOW

“I was thrown into a world that was so not my world. They were crazy times”

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A 2025 documentary has introduced a fresh generation of fans to Twiggy, who rose to fame as the ultimate British icon of 1960s fashion – and went on to do much more. Here, she talks to Julia Llewellyn Smith about sudden stardom, the Swinging Sixties, and an awkward encounter with Woody Allen

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t was a bit mad, really,” says Twiggy, relaxing in the living room of her London home, reflecting on the start of her glorious 49-year career. That’s an understatement. Now 75, Twiggy was arguably the world’s first supermodel, known as a public figure in her own right.

She was born Lesley Hornby in Neasden, north-west London. The youngest of three daughters of a carpenter father and housewife mother, she was 16 when she was plucked from obscurity to be named “The Face of 1966” by the Daily Express newspaper, based simply on a striking image in a Mayfair hairdresser’s window of a teen girl sporting her daringly short new crop.

Within weeks, that shy, waiflike teenager – hence the “Twiggy” nickname – was on the cover of Vogue. Magazines from all over the world were ringing her home, because she had no agent, offering her work. Her father wrote to her headmistress saying she’d be leaving her grammar school before sitting her exams. “She wrote back – I can’t remember the wording, but it was quite rude – saying, ‘This is a stupid idea,’” says Twiggy. “Years later, someone told me at the end-of-term speeches the same headmistress mentioned me, saying how wonderful I was.” She throws back her head and gives what her close friend Dustin Hoffman describes as her “truck-driver’s laugh”.

After her early modelling years, Twiggy’s career progressed to singing and acting roles, garnering her Golden Globe wins and Tony nominations (more of which later). She would eventually return to modelling in her fifties, including as the face of Marks & Spencer. Cementing her status as a British icon, Twiggy was made a dame in 2019. Today her projects include a podcast, Tea With Twiggy, featuring conversations with friends like Joanna Lumley, Brooke Shields and Emma Thompson.

In the social media era, Twiggy has gained a new generation of fans.

Videos hashtagged #Twiggy – often of attempts at re-creating her signature eye make-up with lower lashes painted on, just like her beloved rag doll’s – have 100 million views on TikTok. But it’s not just her fashion look that has caught people’s imaginations.

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THE GOODWOOD INTERVIEW – TWIGGY

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“I definitely didn’t look like the other models of the period… I was this funny, skinny little kid”

AL AMY

Many new fans discovered Twiggy through 2025’s acclaimed featurelength Twiggy documentary, directed by Sadie Frost, which combines compelling archive footage and interviews with friends and family, shedding new light on her life story. In a clip that soon went viral, a 17-yearold Twiggy – on her first visit to New York, for a US Vogue cover – is quizzed in front of a studio audience by 31-year-old Woody Allen, who’s clearly trying to humiliate the young girl.

“I went in thinking he was going to ask, ‘How did you get your name?’ and ‘What do you think of America?’ That’s what I was used to. His first question was, ‘What do you think of serious matters?’ I said, ‘What do you mean?’ He said, ‘Well, who’s your favourite philosopher?’ My stomach turned, I felt so embarrassed because I didn’t know any. There were all these people in the audience. I just wanted to run off and cry.”

She may have been dying inside (you see her sitting on her hands) but she turned the tables, asking Allen with a cheeky grin, “I don’t know, who’s yours?” “Er, I like them all,” he replied, to which Twiggy demanded, “Who?” When he blustered, “Oh, your Greeks, your Germans,” she persisted: “Yeah, but what are their names?” A flustered Allen actually fell off his chair. (The same exchange with Allen appears in Twiggy’s friend Ben Elton’s musical of her life, which opened in 2024 at London’s Menier Chocolate Factory, with a nationwide tour now planned.)

“I wasn’t being clever, I was in an absolute panic,” explains Twiggy.

“When I said, ‘Who’s yours?’ I was begging him to help me. It was bullying.”

She pauses, then adds, “It was interesting what transpired after. But we won’t go into that. Just imagine me doing something like that with someone like Emma Raducanu. You wouldn’t do that to a young person who wasn’t used to any of that!”

Wearing jeans and a silk top, her teenage crop now a long, blonde bob, Twiggy looks fabulous, but – unlike many women whose fame was predicated on their looks – not remotely plastic. “I keep healthy,” she says.

“I’m a good cook, and I make everything from scratch. I do Pilates. Health is everything.”

We’re sitting in the living room of the mansion flat in Kensington where she lives with her husband – actor, director and writer Leigh Lawson, 80 – whom she met in 1985. We’re surrounded by souvenirs, including her two Golden Globes, for Ken Russell’s 1971 musical The Boy Friend. The walls are lined with portraits, including one of Twiggy’s artist daughter Carly, 47, from her marriage to American actor Michael Witney. A troubled alcoholic, he died of a heart attack when Carly was five. There are Al Hirschfeld cartoons of Twiggy in various stage musicals. Beside the window stands a mannequin in a blonde wig and shift dress. “That’s me!” Twiggy exclaims.

“I was the first well-known personality of whom they made a mannequin for a shop window. They lost the original wig. This one’s too long – I need to trim it. During Covid, I became my husband’s hairdresser. I’d never cut hair before, but I said I’d have a bash.” It’s a characteristic Twiggy sentence, combining some groundbreaking achievement with a domestic anecdote.

Despite her extraordinary career, she’s entirely without airs: friendly, funny and completely family-focused, talking adoringly about Carly and her grandchildren. This is interwoven with reminiscences about her teens, hanging out with Sonny and Cher, Elizabeth Taylor and Clint Eastwood.

David Bowie, of whom she was a big fan, famously asked her to appear with him on the cover of his album Pin Ups. She says she had to dig deep when she was introduced to Paul McCartney (who remains a close friend of hers) to find a way to stay calm. “He was my favourite Beatle. A year before, I’d had ‘Paul McCartney’ scratched on my school desk. I’d gone to the [Beatles concert at] Finsbury Park Astoria with my friends and screamed my head off. But I kept very cool.”

She continues, “I was so naïve, thrown into a world that was so not my world. All I knew was my very suburban, very happy, very ordinary, workingclass life. I was a Mod; that was about as exciting as it got.”

In the media, her skinny frame drew accusations that she was encouraging eating disorders. “I got blamed for anorexia, but I’m naturally thin; you can see it in the fact my face is quite round. I take after my dad, who was quite small-boned. I’ve always loved my food, although at that age I ate a lot of rubbish. But I don’t think everyone should be thin. Everyone’s built differently; you need to find the comfortable weight for you.”

From top: Twiggy in 1967, at the start of her modelling career; showing off her dancing skills with Christopher Gable in The Boy Friend

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Above: the cover image used for David Bowie’s 1973 album Pin Ups

How did she stay so sane in the midst of the media pressure? “It would have driven lots of people mad, but Dad was from Bolton in Lancashire and was a really down-to-earth, grounded, northern lad, very sensible and very kind. When it all happened, I learned from him how to behave. I mean, it must have been weird for my family, as well. They were crazy times.”

Twiggy wasn’t even working professionally when her hairdresser boyfriend (later her manager) introduced her to another hairdresser, Leonard of Mayfair, who asked if she’d be his guinea pig for a new short cut he was perfecting. The photograph of Twiggy, hair cropped, in a Fair Isle jumper, was displayed in the window and spotted by the fashion editor of The Daily Express, Deirdre McSharry. On gut instinct, she featured Twiggy as the “face” of youth that year.

“She changed my life, because I definitely didn’t look like the other models of the period – Celia Hammond, Jean Shrimpton, who was my idol – they were gorgeous, tall, with long hair, and I was this funny, skinny little kid, only 5ft 6in and six-and-a-half stone – naturally skinny. If I’d gone to a model agency they’d have shown me the door.”

Yet the zeitgeist was exactly right for Twiggy, who represented a vanguard of working-class stars; think Michael Caine in film, The Beatles in music, David Bailey in photography. She also embodied the Swinging Sixties’ youthful spirit, echoed in a flurry of new boutiques catering to young women. “I used to make my own clothes. If you wanted to buy them, you had to go to Harrod’s, which was too posh for me, or Derry & Tom’s in Kensington High Street, where they had grown-up women’s clothes and kids’ clothes, but nothing in between. But young designers like Barbara Hulanicki – who founded Biba, and became one of my closest friends – and Mary Quant were coming up, and they needed young models, because these elegant models’ looks didn’t work with their clothes.”

With such a grounding in fashion (she’s handy with a sewing machine and enjoys making clothes for her grandchildren), it’s little wonder that Twiggy has loved her two previous visits to Goodwood Revival.

THE GOODWOOD INTERVIEW – TWIGGY

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“I’d wanted to go for years, then a dear friend of ours, Pattie Boyd, rang and said, ‘You’ve got to come, darling, it’s wonderful!’ I told her I thought you had to dress up in Sixties things and I didn’t feel comfortable.” She rolls her enormous blue-grey eyes. “I said, ‘I’m not wearing a miniskirt at my age!’ And Pattie replied, ‘No! You don’t have to do that.’ So we went and had lunch with [the Duke of Richmond] Charles at the house, which was lovely, and then met [the Duchess] Janet, who’s divine. I wore a 1940s outfit – I’m all right doing that.” After all, it would be quite wrong to dismiss Twiggy as purely a 1960s icon. She only modelled for four years before legendary director Ken Russell took the bold step of casting her in the lead role in his musical film The Boy Friend. “Ken turned my life upside down, God bless him. It was like entering some kind of secret garden.”

Did she know she could sing? “I mean, I was in the school choir, but I never imagined this.” She would go on to act and sing on Broadway in 1983, in a Gershwin musical, My One and Only. “Now, that was scary!” she says, despite the fact that her performance garnered two Tony nominations.

Twiggy was in her fifties when she returned to modelling with a 10-page spread by Steven Meisel for Italian Vogue. Another serendipitous moment came in 2005, when Marks & Spencer’s marketing director spotted her having lunch with her husband in a Suffolk pub. He signed her to model the brand’s clothing, at a time when it was failing. Profits immediately soared. Twiggy stayed with M&S for 12 years, designing her own line for four of those. “I loved that. I miss it! I’d like to do more.” From the girl who’d pioneered teen fashion, Twiggy became the woman spearheading the “grey pound” boom, living proof that the over-fifties could still be “alive and still doing things. I mean, who knew?” she grins, wrinkling her nose.

She’ll never stop pinching herself at the twists her life has taken. “I took my sister out for lunch last week and we were laughing, saying, ‘None of this should ever have happened,’” she says. “But I’m very glad it did.”

“Twiggy”, the documentary, will be on BBC TV and iPlayer in autumn 2025

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Meet the Revivalists Each year, Goodwood Revival celebrates authentic vintage clothing and collectibles dating from the 1940s to the 1960s, with opportunities to learn, craft, shop for new finds or hit the dancefloor. Sophy Grimshaw meets some of its devotees.

Portraits by Dan Stevens

Kirstie

INSPIRATION “1960s Jean Shrimpton vibes” When I spotted this original 1960s beagle-collar Mod dress on Vinted, I had to buy it. It was originally part of a tunic and trouser set. I adapted it and made it a little more Revivalappropriate by sewing hidden poppers up the front and tailoring it to fit me. There’s something very alluring and daring about the 1960s; it must have been so exciting being young and part of a cultural revolution in Swinging London. I like to think my vintage dresses have seen some sights and sounds – that’s what’s so wonderful about circular fashion.

Being invited to take part in the Best Dressed parade at Goodwood Revival 2024 was the ultimate compliment.

It was daunting as I’m naturally shy, but [compere] Dandy Wellington put me at ease. We even named our cat after him.

Alan

INSPIRATION “Suits of the film noir era”

I started buying vintage clothes after going to events with my partner, Shauna, including Goodwood Revival. I felt a bit envious of how well-dressed other people were and I wanted to be part of the event rather than a spectator. It took a while to build up a wardrobe. I love late-1940s and early-1950s suits, and I’m always watching old film noir movies to take notes on the style. Suits are becoming harder to find, so when you find one that you like, in your size, in good condition, it’s really special.

This jacket is from a 1950s suit. The 1940s tie, which has a hand-painted motorcyclist design, I had bought the previous day from one of the fantastic traders at Goodwood Revival.

There’s no other event in the world quite like it. I love the fact that it’s an amazing community of like-minded people.

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From left to right: Kirstie travels from her home in Scotland to attend Goodwood Revival each year; Alan and Shauna are both inspired by 1950s fashion, movies and design

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From left to right: Floyd uses two trusted tailors to recreate elegant designs from the past; Vicky draws sartorial inspiration from historic documents

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Shauna pictured on previous page

INSPIRATION “1950s authenticity” I first attended Goodwood Revival in 2012 and it just gets bigger and better. To see Dita Von Teese judging the Best Dressed contest last year was fantastic, and I love the talks on fashion history at the Revive & Thrive stage.

I work for the NHS, in clinical research, and my interest in vintage collecting is a hobby and a form of creative expression.

I started buying vintage clothing when I was at university, when I realised it was accessible through online sellers.

I’ve always loved 1950s design, movies and photography; being able to wear the clothes of that era fuelled my interest further. I bought this Fifties dress from Etsy. I had actually seen it previously, but it sold quickly. When it came up again, I knew I had to get it! I like to find pieces from original 1950s fashion adverts. I enjoy collecting casual as well as formal clothing from that era, as I wear true vintage all the time – it isn’t something I only wear for special occasions.

Floyd

INSPIRATION “Edward VIII-inspired chic” I don’t work in fashion – I’m an account manager, based in Reading – but I’ve always loved vintage formal clothing. The suit in the picture was made bespoke, based on an outfit worn

by Edward VIII. It was a very careful reproduction by tailor Simon Dowling. The hardest part is always sourcing a material that matches the original, and finding the leather buttons.

In general, I definitely like a dandy look: 1940s swing ties sourced from America are a staple in my wardrobe, although I also like to add in some elements of modern styling.

Being 6’3”, buying vintage is hard, as most of the things I find that I love are too small, so I use tailors to reproduce them: Geoffrey Golding of St Albans is currently crafting me a green-and-red windowpane three-piece suit for this year’s Goodwood Revival. It’s a weekend that always transports me to an age of style and elegance.

Vicky

INSPIRATION “1950s cocktail-party guest” I live in Chichester and work as an archivist for the West Sussex Record Office, so a passion for history is a huge part of my job. I often take vintage clothing inspiration from historic documents, too, such as looking at old newspaper clothing adverts to be sure of an accurate silhouette.

I bought this original 1950s gown on Etsy. When buying vintage, knowing your exact measurements is crucial. Luckily, this dress fits me like a glove. My bag is 1960s, and the pearls were my great-grandmother’s. The gloves and headscarf are from St Wilfrid’s Hospice Retro & Vintage Shop in Chichester.

I love the talks and workshops at Revival; my mum and I attended a block-printing workshop and made beautiful prints we could take home. Being up close to the gorgeous vehicles is also so special. I may not know much about cars, but I do appreciate beauty when I see it.

“When buying vintage, knowing your exact measurements is crucial.

Luckily, this dress fits me like a glove” REVIVAL STYLE

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“The oldest piece in my collection is a French waistcoat that dates back to the 1780s”

Jonny

Mars

I’m wearing a summer-weight jacket from 1928 with late-1920s or early-1930s trousers – both eBay finds. The tie, which I found at a vintage market, is from the 1930s/’40s, and I wear it a lot. I bought the 1930s homburg hat from a friend in Germany. I felt this ensemble worked well for Goodwood Revival, but I often wear vintage suits and ties in my daily life, including to work – as a corporate sales account manager in London.

I collect antique as well as vintage menswear. The oldest piece in my collection is a French waistcoat that dates back to the 1780s, but mostly I collect late-19th and early-20th-century pieces. My favourites are waistcoats and ties. An 1890s threepiece tweed suit was a particularly special find. I also collect antique tailoring books – the oldest one I have is from 1843.

Revival is my favourite event in the vintage calendar: it’s a great combination of watching racing and a social event, where you can wander around, meet friends, dance to wonderful vintage music, and shop. Last year I bought a fantastic 1910s detachable shirt collar. They always come in handy.

My outfit here is all 1940s. The two-piece cotton suit is American, topped by a lightweight beaded swing coat. The hat is 1940s straw with silk ruching. The scimitar brooch is an iconic design from American jeweller Coro. The gloves are brushed cotton with silk trim.

My work, in interior decorating, is separate to my interest in vintage clothing, but I have also been a stylist. I love designing moods. Goodwood Revival is a yearly catch-up with friends from around the world and a chance to find some treasures; I bought one of my favourite straw hats here. It’s wonderful to see so many vintage enthusiasts shining and looking their absolute best. The time I was on a panel with Zandra Rhodes, for a vintage fashion conversation, was a standout moment.

There’s a real buzz: the racing, the aeroplanes, the dancing, the actors in period dress… it’s magical.

INSPIRATION “1930s dandy”

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INSPIRATION “1940s elegance”

Goodwood Revival takes place from 12-14 September 2025, with return appearances from Dita Von Teese and Dandy Wellington

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From left to right: Jonny often wears vintage clothing in everyday life; for Mars, Goodwood Revival is a chance to catch up with friends from all over the world

REVIVAL STYLE

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RELUCTANT HERO A shy farmer, but also a revered world champion racing driver, Jim Clark was an exhilarating yet profoundly modest motorsport legend. Peter Hall reflects on the life and legacy of his boyhood idol

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PA I MAGES / AL AMY

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ust as he was to many others, including a Brazilian lad by the name of Ayrton Senna da Silva, Jim Clark was my boyhood hero. Sixty years on, it’s hard to recall how it started. It might have been family outings to watch the International Gold Cup at Oulton Park, or Grand Prix in 70mm Cinerama at Liverpool’s Abbey Cinema. Perhaps it was the VIP Raceways Lotus Indianapolis slot car that beat any Scalextric rival, or the Matchbox Lotus 25 that handled so well on the living-room carpet.

In any case, while I and my best friend at primary school waited to start our own Formula 1 team, we decided to build a replica of Clark’s Lotus. Wildly ambitious, even in our eight-year-old imaginations, it would be big enough to sit in, and correct in every detail except the construction; rather than the real car’s monocoque chassis, ours would use a spaceframe of paper drinking straws, clothed in papier-mâché bodywork.

You may imagine our disbelief when, running into the classroom armed with newspapers and paste, we found the near-complete frame broken in half, crushed by an unseen hand. (I never found out whose.) I turned to drawing instead. Always F1 cars in British Racing Green with a yellow stripe, emblematic of an age when chaps in sheds built cars for ambitious amateurs and gentleman drivers in the world’s most glamorous bloodsport.

Glamorous if you lived, that was. If mechanical failure or human error threw you off the track at 180mph, you might have been safer in something made of drinking straws and newspaper than in a lightweight alloy tube full of gasoline. Nobody wore seatbelts and circuit safety was minimal; many road courses, miles longer than today, were still lined with trees and buildings, with nothing more than rope barriers or picket fences to suggest that spectators shouldn’t get too close. Purpose-built venues and former airfields might deploy straw bales or earth banks, but first-aid facilities were almost

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non-existent until BRM boss Louis Stanley set up a mobile medical unit in 1971, supported by donations such as the pocket money I dropped into a bucket at Oulton Park.

To me, Jim Clark appeared to be a hero, but there was little in his early life to indicate an appetite for risk. The fifth child and only son of a livestock farmer in Kilmany, Fife, he was born on 4 March 1936. Six years later, the family moved to Edington Mains, a farm near Chirnside, Berwickshire, where young Jim drove a tractor and occasionally borrowed his father’s Austin or Alvis. At boarding school, he developed a greater interest in cars, and, having been called back to the farm at 16, he dabbled in rallying (as a navigator, until he proved to be hopeless with maps), hillclimbing and autocross. At that stage there was no suggestion of a career in motorsport – the farm was more important, and he assured his father that his hobby wouldn’t cost much.

However, his ability was obvious. On 16 June 1956 he took part in his first race, driving his friend Ian Scott-Watson’s DKW saloon at Crimond, Aberdeenshire. By 1958 he was winning in a Jaguar D-Type and Porsche 356 for the local Border Reivers team, but the perils of racing began to trouble him, particularly after a nervy event at Spa-Francorchamps – his first overseas race – that claimed the life of driver Archie Scott Brown. As much as anything, he was concerned about worrying his mother.

Nevertheless, driving a Lotus Elite, he came second to Lotus boss Colin Chapman in a Boxing Day race at Brands Hatch, and in 1959 shared an Elite with John Whitmore at Le Mans, finishing 10th. Chapman was impressed, and in March 1960 he offered Clark a drive in the new Lotus Formula Junior (precursor to F3 and F2) at Goodwood, where he won ahead of John Surtees.

KEYSTONE PR ES S / AL AMY; AP / AL AMY

Previous pages: Jim Clark in a Lotus 30 at the 1964 Goodwood Tourist Trophy, which he dominated until mechanical gremlins intervened.

These pages, left to right: Clark in farmer mode at a sheep sale in Kelso, Scotland, 1963; celebrating victory in the 1965 Indianapolis 500, with Colin Chapman to his left

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As Clark’s sometime flatmate Jackie Stewart observed, “Nobody ever knew what was going on inside him.

He was an incredibly private person”

That earned him a seat in an F1 Lotus-Climax at the Dutch Grand Prix at Zandvoort on 6 June, although he retired with transmission trouble.

The dangers were immediately clear. A spectator was killed at Zandvoort that year when Dan Gurney’s BRM suffered brake failure. A fortnight later, Stirling Moss was seriously injured in practice for the Belgian GP at Spa and two drivers – Chris Bristow and Clark’s team-mate Alan Stacey – died during the race. Clark finished fifth, but having witnessed Bristow’s decapitated body being dragged off the track, he returned to the paddock in a car spattered with blood, and later admitted, “I was driving scared stiff, pretty much all through the race.” Worse was to come during the 1961 Italian GP at Monza, where the Ferrari of championship leader Wolfgang von Trips collided with Clark’s Lotus and flew into the crowd, killing the driver and 15 spectators.

If Clark was scared, he didn’t show it. He came across as a rather introverted sheep farmer who just happened to be good at racing, although his obsessive nail-biting (“better than smoking”) hinted at underlying unease.

He was also notoriously indecisive; friends recalled his hesitation even at empty road junctions, and he dodged the subject of marriage to his girlfriend Sally Stokes so often that she left him.

As his sometime flatmate Jackie Stewart observed, “Nobody ever knew what was going on inside him. He was an incredibly private person – he hardly ever confided in anybody. There were quite a lot of things that you could not discuss with Jim. You didn’t talk about money; you didn’t talk about the dangers of motor racing. He confined things like that to himself so much, you worried they were consuming him from the inside. He isolated himself. You could see the anxiety in his shoulders. He had a stiffness in his shoulders. He

JIM CLARK

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was never what you could call a loose guy, and it got worse as he got older.”

Doug Niven, Clark’s cousin (and now a trustee of the Jim Clark Trust, which operates the Jim Clark Motorsport Museum in Duns) had a different perspective: “Jim was basically shy. He disliked public speaking, for example, but as his fame grew, he had to master it. For a while I lived at Edington Mains; his parents were concerned that there were a lot of trophies there and no one to keep an eye on them, so I commuted back and forth from our farm seven miles away. I wanted to hear all about his racing exploits, but he was more interested in farming and what was happening locally in the Borders. He was such a modest man – he would rather ask about anything else than talk about cars.”

Such reticence might have been a symptom of Clark’s introversion, a need to control and quieten his mind. Much as Senna described driving beyond normal consciousness at the 1988 Monaco GP, it might be that he only found such inner peace behind the wheel, where his sense of balance, exceptional eyesight and smooth technique made him the most gifted driver the world had ever seen; after a race, it often looked as if his tyres and brakes had hardly been used.

This ability to coax the best out of any car certainly helped in the underpowered 1.5-litre F1 of 1961-65. An oil leak robbed him of the 1962 World Drivers’ Championship, but in 1963 he took the title with seven victories (a record not surpassed until 1988) including an astonishing performance at a wet and foggy Spa, finishing almost five minutes ahead of Bruce McLaren – the second-largest margin in F1 history. He would have won the 1964 title too, but for another oil leak on the final lap of the final race; he did at least take the British Saloon Car Championship in a Lotus Cortina.

Set to be celebrated at this year’s Goodwood Revival, 1965 was Clark’s greatest season – arguably the greatest by any driver in history – winning his second F1 title, the Tasman series, and the British and French F2 Championships. Not only that, but he won the Indianapolis 500, the first foreigner to win there for half a century, the first to win in a rear-engined car, and the only driver ever to win Indy and the F1 title in the same year.

It cemented Clark’s global fame, and earned him a Time Magazine cover.

Lack of a competitive engine in 1966 limited him to sixth in the F1 Championship, but the new Ford Cosworth-powered Lotus 49 was waiting in the wings. It dominated qualifying in 1967, with nine pole positions for Clark and teammate Graham Hill; Clark won four of the year’s 11 GPs but five retirements put him third in the final standings. However, by season’s end the car was so reliable that the 1968 title – and more, as he was barely into his thirties – seemed to be his for the taking, and with a 25th GP victory at January’s South African GP he overtook Fangio in the record books.

As I recall, the afternoon of Sunday 7 April 1968 was a fine one. I was playing in the garden when my sister came running out of the house with incomprehensible, mind-numbing news: “Jim Clark is dead!”

At Hockenheim, his F2 Lotus had left the track at 170mph and plunged into the surrounding forest, disintegrating among the trees. Nobody knew what had happened. Was it a gust of wind, or an engine misfire? Was it a puncture? Driver error was inconceivable, which made it even more frightening. As fellow driver Chris Amon commented, “Of course we grieved, but there was always grief. When we lost him, there was another dimension to it, a selfish thing. His death frightened us. If it could happen to him, what chance did the rest of us have?”

Clark’s death, like Senna’s in 1994, was a watershed moment. Even without the imminent arrival of sponsorship and wings, motor racing would never be the same again. Yet some things remain unchanged. Jointly with Jackie Stewart, Clark still holds the F1 lap record at Goodwood. He still holds the record for F1 “grand slams” (started from pole, led every lap, set fastest lap and won) ahead of Hamilton, Ascari, Schumacher and Verstappen. Like Fangio and Senna, many still believe him to be the greatest of all time. And, not least because his gravestone at Chirnside records him as farmer first, world champion second, he’s still my hero.

Jim Clark’s legacy will be celebrated at Goodwood Revival, 12-14 September. For information about the Jim Clark Trust and Museum go to jimclarktrust.com

Left: Clark takes Colin Chapman for a spin in his Lotus 25 after winning the 1963 GP at Monza. Lotus team-mate Mike Spence comes along for the ride

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ZUMA PR ESS / AL AMY

His sense of balance, exceptional eyesight and smooth technique made him the most gifted driver the world had ever seen

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LINES OF BEAUTY

This season’s looks are all about sculptural shapes, striking silhouettes and exaggerated details. And where better to showcase these sartorial works of art than within the minimalist serenity of Goodwood Art Foundation PHOTOGRAPHY BY PELLE CREPIN STYLING BY JODIE NELLIST HAIR & MAKE-UP BY JULIE READ

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P57: dress by Taller Marmo; shoes by Emilia Wickstead; jewellery by Annoushka P58-59: (left) dress, scarf and coat by Joseph; shoes by Chylak; earrings by Giovanni Raspini (right) dress by Huishan Zhang; shoes by Aquazzura; jewellery by Giovanni Raspini P60-61: dress by FLT; shoes by Roger Vivier; earrings by Dinosaur Designs P62-63: (left) dress by Rebecca Vallance; bangle by 886; earrings by Dinosaur Designs (right) coat, skirt and shoes by Gucci; jewellery by Cartier P64: coat, leggings, jumper and boots by Hermès; jewellery by Cartier P10 (Contents) dress by Dior; bangle by 886; earrings by Giovanni Raspini

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GHOST SERIES II

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HANDS OF TIME With ancient British crafts such as hedgelaying and flintknapping in danger of disappearing, Alex Moore meets the skilled artisans who are preserving these skills for future generations. Photography by Alun Callender “Sussex is one of the most thriving craft regions in the UK, with a strong heritage in traditional techniques married with a high level of sustained interest from the general public,” says Daniel Carpenter, executive director at Heritage Crafts, the national charity set up to celebrate and support traditional artisanal skills.

“Nevertheless, there are still crafts in danger.”

In early 2025, Heritage Crafts issued a “stark warning”. New research, it claimed, had identified 20 crafts at risk of vanishing in the UK. Those crafts, which include rake making, linen beetling, glove making and pietra dura, are now considered to be critically endangered, and join 165 others on the charity’s pioneering Red List of Endangered Crafts (previously updated in 2023). Without deliberate action, it is argued, many of these skills could disappear within a generation.

In an attempt to safeguard many of these age-old crafts, Sussex Heritage Trust, which was co-founded by the 10th Duke of Richmond in 1977, is partnering with the Weald & Downland Living Museum to offer a series of taster days. For some young people, it might be the only way they will ever come across these bygone artforms.

Here are five local artisans doing everything they can to keep their craft alive.

To help meet 2050 net-zero targets, the Climate Change Committee has advised that the UK needs to plant 124,000 miles of hedgerow. These sturdy lines of shrubs and trees act as a livestock barrier and help to prevent soil erosion and flooding, as well as providing a habitat for wildlife. But seeing as it’s taken local coppicer Rosie Rendell 10 years to lay two miles of hedgerow around the Goodwood Estate, the scale of the challenge is clear.

One issue is that the season for hedgelaying – the traditional practice of managing hedgerows by trimming and weaving the stems to encourage new growth – only runs from October to March, when the plants are dormant and birds are no longer nesting. Rendell insists that despite the craft seeing a resurgence, the country is crying out for hedgelayers. “If it wasn’t for the Crumblies, I think we’d be in even bigger trouble,” she says, referring to the volunteer group of retirees who, once a week, help to maintain Goodwood’s hedges.

She has recently shown the Goodwood forestry team how to chop pleachers (upright branches cut just enough to remain horizontal), weave binders and hammer stakes in the South of England hedgelaying style, which sees the “brush” left on both sides. However, to do this, she had to take the team elsewhere, because the Estate’s own hedges are “too complicated”. She says, “Given the age and condition of Goodwood’s hedgerows, which have been heavily flailed over the years, restoring them is quite a technical job for a beginner.”

Her own “hedgucation” began as a gardener making hazel hurdles: woven fence panels or screens that she still makes during the summer months once she’s finished coppicing. Rendell picked up a few pointers during an apprenticeship with the late coppicer and charcoal maker Alan Waters, but says she is more or less self-taught. Now, concerned that the hedgelaying community is very much an ageing population, she’s keen to pass on her knowledge. “I feel I need to enthuse the next generation,” she says. “Otherwise, who will?”

For Rendell, job satisfaction comes from “taking this huge, tangled mess, basically a living jigsaw puzzle, and picking your way through it. I like knowing that what I do helps the hedge to live on for much longer. We’re not only creating beautiful stock-proof barriers, but buzzing wildlife corridors for insects, birds and mammals.”

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THE HEDGELAYER Rosie Rendell

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Above: Rosie Rendell has spent the past decade laying hedgerow around the Goodwood Estate

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THE FARRIER Beckie Lemmens

Below: Beckie Lemmens, Sussex’s only female farrier, completed a fouryear apprenticeship to learn her trade

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Beckie Lemmens decided she wanted to be a farrier at the age of seven, partly because she loved ponies, partly to show the naysayers she could do it. Women, she’d heard it said, were not strong enough to shoe horses.

So, at 16, she started a pre-farriery course at Moreton Morrell College in Warwickshire, one of only three institutions in the UK to teach the skill (the other way to learn is in the British Army). She was the only girl on the course and remembers always having to go the extra mile to earn her teachers’ respect. After finishing top of her class in 1999, she wrote to every one of the UK’s Approved Training Farriers (ATFs) – of which there are currently around 300 – asking if she could embark on the requisite four-year apprenticeship with them.

Seven replied, three of whom gave her unpaid work experience. Eventually, the Sussex-based farriers Chris Peacock offered her an apprenticeship, and her professional career began.

“These days, I think it’s even harder to become a farrier than it was 20 years ago, not just for girls, but for anyone,” says Lemmens, who is Sussex’s only female farrier. “Young people seem less interested, but more worryingly, two thirds of farriers are over 55, nearing retirement and less inclined to take on apprentices.”

On the other hand, there’s certainly no shortage of work. Horses, Lemmens says, will always need new shoes, and in terms of the process, “not much has changed since Roman times”.

So how does Lemmens meet the physical demands of this ancient craft? “Simple, I don’t shoe horses that don’t want to be shod.” Rather, she plays to her strengths. “I’d say that 95 per cent of my clients are female, most of whom reckon their horses ‘don’t like men’,” grins Lemmens. “I’m pretty sure that’s not true, but I imagine there’s a certain empathy and gentleness that horses do appreciate when it comes to us female farriers.”

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Above: Dominic Parrette creates a wide range of contemporary woven designs in his Sussex Willow workshop

THE BASKETMAKER Dominic Parrette At Sussex Craft Fair earlier this year, basketmaker Dominic Parrette took to the stage at the Hastings Contemporary museum, armed with a shave horse and draw knife, to show a sell-out crowd how to make a Sussex trug. For Parrette, the demonstration – as part of the “Lost & Found” celebration of the county’s endangered crafts – was “an opportunity to inspire the next generation of basketweavers”.

“People still love trugs,” says Parrette of his basket of choice, which has its roots in 13th-century Sussex.

“They’re a lovely object but also a functional one, and one that should last a lifetime. I get people asking me to repair trugs that have been in their family for 80 years, so it’s important that I pass on these skills. If I teach 50 people, hopefully one of those will pick it up.” Currently, Parrette knows of only two full-time trug makers.

“It’s hard work,” he says. “You need the space in your life to put the hours in. And you need access to the raw materials such as sweet chestnut coppice and willow boards.”

A longstanding member of the Basketmakers’ Association, Parrette learnt the art of weaving at agricultural college. “There’s some basketry in hedgelaying, and I think that’s where my fascination started,” he says.

“I taught myself how to make fence panels and, gradually, what I was doing evolved. I like making trugs, in particular, because the process is similar to how wooden clinker boats are made – shaving willow boards until they’re thin enough to bend.”

For both master and apprentice, basketmaking is often about more than just the end result. “It’s very contemplative,” says Parrette. “There’s something incredibly pleasant about working with natural materials at a slow, measured pace in a nice, calm environment. A lot of the feedback I get from my students is how therapeutic the whole process is. I think there’s a lot to be said for that.”

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Above: flint has become “very fashionable” in building design over the past decade, says David Smith

THE FLINTKNAPPER David Smith According to Lewes-based flintknapper David Smith, flint is “enjoying something of a renaissance, particularly in the field of contemporary building design, where architects are once again drawn to its aesthetic qualities”.

Perhaps this renaissance isn’t that surprising. Flint House on the Waddesdon Estate in Buckinghamshire, for which Smith was the flint consultant and flint contractor, was the winner of RIBA’s (Royal Institute of British Architects) House of the Year 2015. The judges described the house – commissioned by Jacob, 4th Lord Rothschild and designed by Charlotte Skene Catling – as “a marvel of geological evolution and construction”.

In the decade since, Smith says, flint has become “very fashionable, yet there remains only a handful of people who know how to use it correctly, according to geography, history and hierarchy”. So few, in fact, that Sussex Heritage Trust has recently issued grants to local flint wallers Duncan Berry and Bob Green, and flintwork remains on the endangered list. Which is largely why Smith wrote Building With Flint (2025): “to open people’s eyes to the artform”, but more importantly, “to promote good practice”.

Nowhere is flintwork better practised than at Goodwood, says Smith, whose Flintman Company has worked with architects, galleries, private clients and conservation organisations since 1989. He worked on the Estate’s Pilley Green gates, where he says the galleting (a decorative technique that sees shards of flint pushed into the mortar) is “most magnificent”, creating a sense of movement that “almost looks like a shoal of fish”. The quoins on the corners of Goodwood’s flint buildings, he adds, are among the best in the country.

But for Smith, who considers himself as much an artist as an artisan, the story of flint as a creative medium is still being written, and one only needs to see his flint chandeliers and tea sets, or Flint House’s much-lauded flint table, to see how he is steering the narrative.

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THE CONSERVATOR Catherine Woolfitt

Below: conservators like Catherine Woolfitt need to possess “a deep appreciation of heritage crafts”

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As an architectural conservator – someone who employs often archaic masonry techniques to restore historic buildings, ancient monuments and sculptures – Catherine Woolfitt doesn’t see herself as a craftsperson per se. “There’s a difference,” she says. “Conservators have a distinct skill set that requires a deep appreciation of heritage crafts, but it’s more about combining a technical understanding with a methodical approach.”

It’s about knowing the right craftsperson for the job, then, but to do that Woolfitt must know exactly what’s required. And that, she says, is not something that can be rushed. Conservation projects where she has acted as heritage adviser include Hampton Court’s Da Maiano roundels, commissioned by Cardinal Wolsey in the 1520s. Restoring the 10 concave bowls, each containing the terracotta bust of a Roman emperor, took eight years and the expertise of a host of craftspeople including petrologists, lime plasterers and ceramic sculptors.

She uses brickwork to illustrate the nuance required in building conservation. “You need to understand the full spectrum of how bricks were made,” says Woolfitt, who, alongside her consultancy work, also leads the Building Conservation course at West Dean College, just outside Chichester. “Early handmade bricks are softer and more porous, whereas bricks made since the introduction of kiln technology in the 19th century are more durable. Around Sussex, you’ll find a lot of gauged brick arches; if you get the wrong person working on them, it’s not going to go well. It can be challenging to find people skilled in those kinds of endangered crafts.”

For Woolfitt, who trained as an archaeologist before picking up conservation at the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) in Rome, there’s no obvious route into building restoration, especially for young people. “It’s not that they’re not interested,” she says. “It’s more that they don’t know that architectural conservation is a thing. And why would they? So it’s up to us to grab their attention in any way we can.”

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T HE CECI L BEATON ST UD I O ARC HIVE, LONDO N

Charming, multi-talented and a self-avowed social climber par excellence, Cecil Beaton defined the notion of glamour for much of the 20th century. James Collard reports on the dazzling new exhibition of his photography coming to the National Portrait Gallery

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TH E C OND É N AST ARCHI VE , LONDON

Opposite page: Cecil Beaton, circa 1935. Above: Beaton’s The Second Age of Beauty is Glamour (suit by Hartnell), 1946

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or one of the 20th century’s leading photographers, Cecil Beaton often sounded remarkably ambivalent about that craft. “At no stage of my photographic career could I ever have believed that photography could be my life’s work,” he once said. “It was a fascinating hobby, made much more exciting by the cheques I received for my efforts; but I felt I had become a professional photographer by accident.”

Perhaps part of Beaton’s objection to being known as “just a photographer” was because his career encompassed so much more than that, suggests Robin Muir, curator of the upcoming show Cecil Beaton’s Glamorous World at the National Portrait Gallery. “Cecil started off as a fashion illustrator and social cartoonist [for British Vogue, in the early 1920s]. He was the man about town who told the magazine what was happening. He was also a fashion stylist, and his writing is absolutely superb – his diaries, even the authorised versions, are fantastically fluid. And he won three Oscars [Best Costume Design for Gigi in 1958, and Best Art Direction and Best Costume Design for 1965’s My Fair Lady, including the memorable black and white scene set at the Ascot races].” Beaton also created wonderful homes and gardens at his two country houses, along with hotel interiors (“the Beaton Suite”), often in return for a free stay or two – for he was nothing if not canny.

“In the end, it’s for his photography that he should be remembered,” argues Muir when we talk in the midst of his preparations for the show, which focuses on Beaton’s fashion photography “and portraits of fashionable people” from the 1920s until the late ’50s. But Beaton’s ambivalence about being “just a photographer” was also partly down to snobbery – society’s, and Beaton’s own. He was born into a prosperous, but relatively newly minted middle-class family in the Edwardian era, and “this was a time when a photographer was more of a tradesman than an artist”, Muir explains. So the occupation was not without risk for Beaton’s other lifelong project, which was his fiercely ambitious social climbing. Indeed, some of his earliest attempts at photography – with a Box Brownie camera given to him by his nanny – were attempts to get portraits of his mother and sisters into the society pages. But by his twenties, during the 1920s, Beaton emerged triumphant– not just as a member of the smart social set that would become known as the Bright Young Things, but as its chief photographic chronicler.

In a long, highly productive and prosperous life, Beaton achieved much of the social and professional success he craved. In 1958, shortly after a lucrative exhibition of his theatrical sketches and paintings for the first production of My Fair Lady, he celebrated by throwing a big party at the Café Royal. In his diary, he delighted that the guest list – royals, movie stars, high society – had been so “star-studded”, admitting that “it represented a lifetime of social climbing”. For while Beaton hadn’t been born with a silver spoon in his mouth, he once quipped that he definitely “managed to put it there”.

The basis for his success, however, was hard work. By the late 1920s, he was already photographing socialites and Hollywood stars for American Vogue. Throughout the 1930s, along with his friends and rivals, Horst and Hoyningen-Huene, he defined the era’s sense of style. And from the 1930s through to the ’50s, he was the pre-eminent royal photographer, helping to craft a feminine but powerful image for Queen Elizabeth, later the Queen Mother, which saw her through the war years – along with some of the most iconic photographs of her daughter, both as Princess Elizabeth and as Queen.

Beaton’s social and cultural reach was extraordinary – who else but he, for example, could have hosted a successful lunch attended by both the Queen Mother and his close friend Truman Capote? But both liked Beaton and admired what Capote called his “visual intelligence”, and he clearly possessed what today we’d describe as immense convening power. In the 1960s, this erstwhile Bright Young Thing became the unlikely darling of Swinging London. He socialised with young luminaries of the scene, such as Mick Jagger, David Hockney and David Bailey, and was dubbed “Rip van With It” by his old friend from prep school, the writer Cyril Connolly.

Above: Worldly Colour (Charles James evening dresses), 1948

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THE C ON DÉ NAST ARC HIVE, LOND ON

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From left to right: Best Invitation of the Season (Nina De Voe in ball gown by Balmain), 1951; Princess Emeline de Broglie, 1928, Parisian socialite and Singer sewing machine heiress.

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Bailey’s 1971 documentary, Beaton by Bailey, is an affectionate tribute with some charming moments: Beaton snapping the model Penelope Tree, then the younger photographer’s girlfriend, as the two of them, generations apart, skip joyfully around Beaton’s famous gardens at Reddish, his Wiltshire retreat. Or Beaton with Cyril Connolly, singing If You Were the Only Girl in the World after a jolly lunch at the Ritz.

The Beaton of this, his Indian summer, before a bad stroke in 1974 and his death six years later, comes across as a delightful, worldly, witty old charmer, with some splendid laurels to rest on. But he was clearly a complicated man.

Homosexual long before the notion of gay rights emerged, just as his life drew to a close, this imposed a need for secrecy and obfuscation that must have been draining. Over the decades, there were several passionate love affairs with men, but also some significant heterosexual relationships, including a years-long, on-off romance with Greta Garbo that Muir describes as “surely

the oddest love affair in history”. Astonishingly, in this, an era long before #MeToo, Beaton seems sometimes also to have been what his women friends described as “a pouncer”, with one would-be victim deflecting his unwelcome attentions with the memorable put-down, “Oh, come off it, Cecil!”

Cecil Beaton could often be a dear, by many accounts, but also a bitch, as Vickers explored in Malice in Wonderland, the unofficial (and unputdownable) adjunct to his authorised biography – its title inspired by Jean Cocteau’s nickname for Beaton. A former American Vogue colleague joked to Vickers that “Cecil’s baroque was worse than his bite”. Yet clearly he could be waspish.

During the war, this camp, elegant man impressed many with his toughness and work ethic as a war photographer, producing what Muir calls “brilliant reportage” – including images of wartime Britain that would have a massive impact on public opinion in neutral America. But Beaton’s vision was primarily about glamour, as can be seen in his portraits of everyone from

TH E C ECI L BEATON STUDIO ARC HIVE , LON DON

Beaton’s vision was primarily about glamour, as can be seen in his portraits of everyone from Audrey Hepburn to Elizabeth Taylor in the NPG show

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THE C ECI L BEATON STUDIO ARCHIVE, LONDON

His drive for success was a constant, but his means and goals evolved – and “his antenna for what was right for Cecil Beaton was acute”, says Muir

Audrey Hepburn to Elizabeth Taylor in the NPG show. “It’s all about the surface,” says Muir, when asked to describe Beaton’s work, “about creating beautiful images that people remember. And there’s nothing wrong with that.”

After the war, Beaton came into his own with the new, more shapely silhouettes ushered in by Dior’s New Look. But towards the end of the 1950s, his longstanding relationships with both American and British Vogue frayed, so he made that timely strategic pivot to working in set and costume design for theatre and film. His drive for success was a constant, but his means and goals evolved – and “his antenna for what was right for Cecil Beaton was acute”, says Muir. So it would take Sir Roy Strong’s bold decision in 1968 to put on a retrospective of Beaton’s photography at the National Portrait Gallery to remind the world just how good a photographer he was. “It was

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a great success. People queued round the block to see it. It changed how people saw Beaton and it changed how people viewed photography,” says Muir. It also changed how Cecil Beaton saw his life’s work.

Since then, the books and exhibitions continue, with this year seeing a show celebrating Beaton’s “horticultural journey” at the Garden Museum and another that includes some of his scrapbooks at the Gladstone family’s estate at Hawarden in Wales, inherited via his niece’s marriage into the clan.

Nearly half a century after his death, Beaton continues to fascinate. As Muir sees it, “There are just so many things that keep him in the public mind.”

“Cecil Beaton’s Glamorous World” is at the National Portrait Gallery, London, from 9 October 2025 – 11 January 2026

STORIES

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10/07/2025 10:42 15/08/2025 10:08

THE SPECIALIST A NEW PODCAST BY SOTHEBY’S

Your weekly dose of wonder. Our global specialists are connoisseurs and market experts in 40 countries and 70 collecting categories. They will be your guides, exploring the significance and journey of an extraordinary work with those who know it best.

LISTEN NOW

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15/08/2025 10:07

Goodlife PART 3

Living well, Goodwood-style: vintage looks, ways to wellbeing, news from the farm, and why protecting the nation’s soil is vital for our future health

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WOMEN’S STYLE

COOL IN THE SHADE RECREATE THE GOLDEN AGE OF GLAMOUR WITH A PAIR OF VINTAGE SUNGLASSES – YOUR SHORT CUT TO HOLLYWOOD CHIC, SAYS ALICE NEWBOLD

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Right: Audrey Hepburn in Breakfast at Tiffany’s, wearing Oliver Goldsmith shades

ALBU M / AL AMY

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If vintage is, at present, fashion’s most valuable currency, then the accessories market is the best place to make a sound investment. While leather goods are often touted as the easiest entry-level buys, sunglasses are a fraction of the price and, arguably, more impactful than a prized purse. Consider the classic image of Audrey Hepburn as Holly Golightly in Breakfast at Tiffany’s: do you remember the discreet black croc handbag she carries or the gargantuan frames with which she offsets her Givenchy cocktail dress?

Those aptly named “Manhattan” shades by Oliver Goldsmith will be forever entwined with Hollywood’s portrayal of timeless elegance.

Goldsmith’s handcrafted tortoiseshell frames have become collectibles to truffle out both online and via offline vintage platforms such as Goodwood Revival. Their enduring appeal is due not only to a fabulous client list that included Grace Kelly, Ursula Andress and Nina Simone, but also because the original specs modelled by Tinseltowners faded into obscurity when the company shuttered in 1985. While a shiny relaunch blessed the brand in 2006, nothing compares to the family-rooted artisanship underscoring those early products. As The Times said in 1968: “What Vidal Sassoon is to hair and Mary Quant to clothes, Oliver Goldsmith is to sunglasses.”

A pair of agenda-setting sunglasses, like Hepburn’s feline face-framers, are “the perfect gateway into the world of vintage because they’re iconic, easy to wear and instantly transport you to another era”, says Tatiana Wolter-Ferguson, CEO of luxury resale player Hardly Ever Worn It, which does a roaring trade in retro Chanel, Prada, Dior, Gucci and Saint Laurent sunglasses. “With just one accessory, you get history, attitude and timeless style – all at a lower commitment than a full vintage look.” Think: Jackie Onassis in signature paparazzi-shielding bug eyes, also circa the 1960s; Sophia Loren championing the tinted bifocals that ruled in the ’70s; and The Matrix’s Keanu Reeves making slimline square-cut lenses the defining shape of the ’90s.

“Sunglasses can transform not just a look, but the entire perception of the person wearing them,” echoes Claudia Ricco Raichand, founder of Rewind Vintage Affairs, who namechecks seasoned fashion insiders Iris Apfel and Anna Piaggi – both of whom employed sunglasses as vibrant visual manifestos by casting the net wide in search of offbeat designs. Indeed, those in the know now are seeking out archive styles from unexpected luxury houses, such as Cartier, where sales of bijoux 1980s and ’90s bifocals are up 45 per cent, year on year, on virtual antique marketplace 1stDibs.

A word or two of advice when shopping online, where quality can be deceptive: look out for authentication signifiers, such as serial numbers on frames, when browsing on credible consignment sites that put every product through a rigorous inspection process. And don’t be put off by the scratched lenses on that pair of covetable but tired-looking Céline Baby Audreys, as these are easily replaceable. (Revival’s Revive & Thrive offering is all about this.) Lastly, keep browsing! Sunglasses stock moves fast, as it sells with smaller margins, and licensing deals often chop and change, so you never know what might come up in your next search.

Experiential retail fans, meanwhile, will find it hard to walk away from Revival with just one pair, as period dressers come together to celebrate and shop pre-loved. In a competitive sphere, where trophy vintage buys have become a game of fashion oneupmanship, there is nothing shady about this as a form of self-expression.

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OPINIONATED

DRESSING UP

BY HANNAH BETTS

All style mavens are time travellers. We sit, and we dream, and we build castles in the air, musing on fantasies of days gone by, or visions of a fabricated future. However, we vintage acolytes have era-hopping as our super power, forever projecting ourselves into the glories of the past. And we’re becoming increasingly targeted in our desires. Strategy is usurping serendipity. All hail the statement vintage purchase.

Where once we might have settled for a general rummage, buyers now demand specific items from particular brands, whittled down to precise collections. The antithesis of the “random thrifting” ethos, these acquisitions tend to be big ticket: the Dior jacket, Bottega bag or Vivier shoe. They will be longed for, saved for, fetishised – and one’s lust for them will be plotted, researched and informed.

Accordingly, today’s shopper might pine not for a Chanel jacket per se, but for a monochrome Lesage blazer with Chantilly accents, issuing from late 2004, when Karl Lagerfeld was preoccupied by black and white, masculine and feminine elements, and the juxtaposition of severity with frivolity. A hunger for an Elsa Peretti Bone Cuff will eschew current iterations in favour of a version from the year of one’s

VINTAGE-BUYERS NOW DEMAND SPECIFIC ITEMS FROM PARTICULAR COLLECTIONS 1970s birth. A hankering after a leather jacket, meanwhile, may focus on a Hedi Slimane design from Céline’s 2020 collection, one of the very few such leather numbers gracing the house’s history.

I am not immune to such quests. Bag-wise, I’m too impoverished to let myself think Hermès. However, I do allow myself to pursue certain scarf designs. I will be forever haunted by 1990s Calvin Klein slip dresses and Tom Ford for Gucci suits, Alber Elbaz’s Spring 2004 jewel-toned Lanvin cocktail dresses, and the “mille-feuille of colour” that was Raf Simons’ Jil Sander collection for Spring 2011.

My wish list includes a 1933 Longines doctor’s watch, a claret velvet gown by The Vampire’s Wife, pearl-studded fur Moschino cropped cape, and striped Mulberry Darley. I don’t yearn for a trench, but if a certain Dries floral were to turn up, or a lilac lace Burberry, investment would be permitted. Meanwhile, my eyes are forever peeled for Prada Mary Janes, Prada cat eyes, and a Prada lipstick pussy bow.

This style of shopping augments the thrill of the chase. Designer trophies that one cannot stretch to when they’re freshly minted may become affordable over time. Moreover, nothing ever truly gets away.

That lacquer-yellow embroidered silk Dior opera coat I once tragically passed over? Reader, I will discover it again.

IL LUST R AT IO N BY PAUL T H UR L BY

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THE ACCESSORY

THE ADORNMENT

In praise of the Peter Pan collar Sartorial history lesson – N06

THE SHIFT DRESS WORDS BY GILL MORGAN

The clue, as they say, is in the name. When Coco Chanel unveiled her revolutionary little black dress in Vogue in 1926, an appreciative sisterhood fell upon it. The style was adopted (and adapted) by a newly emancipated generation of women who valued the fact that the loose, minimalist shape allowed them to move and dance freely – shift, in fact – and so its name was born.

The shift dress could not be more simple in construction, comprising a scoop or boat neck, darts on the bust, with the fabric falling freely to a hemline on, or above, the knee. With no waistline or body-hugging contours to be seen, there is a democratic appeal to the style – easy to replicate at home, equally suited to any age or body shape, chic when dressed up with heels and jewels, relaxed when dressed down with flats. No wonder it has emerged as one of the world’s most popular sartorial styles.

After its 1920s heyday, the shift dress went into hiding for the best part of four decades, before its glorious 1960s revival, largely thanks to Mary Quant (and Twiggy, interviewed in this issue on p36). Shorn of a few inches in length, it became the defining look of the era, sported by everyone from Jackie Kennedy in Givenchy to pop stars such as the Ronettes. Since then, the shift has never really gone away, an easygoing staple of the contemporary wardrobe. Whether paired with a cashmere cardigan and oversized pearls or a pair of Doc Martens, the shift is simple, chic, and doesn’t try too hard. What’s not to like?

Below: two shift dress designs from 1966

JM Barrie’s Peter Pan not only popularised the name Wendy, it also created an enduring fashion staple.

A 1905 stage production saw Broadway star Maude Adams, in the eponymous role, sporting a distinctive, roundedged collar. Thus, this style gained an easy moniker (though oddly enough, Pan has rarely been depicted in one since). The Peter Pan collar subsequently became popular on children’s dresses, from the 1920s on, and was a key wedding dress trend for 1930s and ’40s brides.

Embraced by Mods during the 1960s, the collar enjoyed a further revival in the ’80s, with Princess Diana a noted fan. It returned once more, with a dollop of irony, for the ’90s grunge era, and graced Alexa Chung during her prime early-2000s “IT-girl” years.

The quintessential Peter Pan collar is arguably white-on-black, giving US “pilgrim” vibes. Unlike blue jeans, you can’t really say it “never goes out of style” – but it’s rarely away for long.

The

PO PPERFOTO / CO N TR I BU TO R/ GET T Y IM AGES ; MEL A N JURG A

SEAMSTRESS

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DITCH THE IRONING From rayon crepe to crinoline, the fabrics of dresses from the 1940s and ’50s, combined with neat pleats and artful folds, lend the wearer an aura of mid-20th-century glamour. But what else do they have in common? That’s right: they’re all tricky to iron.

A steamer isn’t just for fashion stylists; new versions are more portable and competitively priced than ever, and preferable to burning a hole in a delicate vintage gown. No time to buy a steamer? Hanging a garment in your bathroom with the shower running can also work wonders.

19/08/2025 09:42

MEN’S STYLE

THE PURSUIT OF STYLE AS AWARD-WINNING DESIGNER GILES DEACON SETTLES INTO HIS ROLE AT THE HELM OF BRITISH LUXURY BRAND PURDEY, HE TELLS PAUL CROUGHTON WHY HE’S THE PERFECT MAN FOR THE JOB

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“OUR CLIENTS ARE LOOKING FOR A LEVEL OF EXCELLENCE WITHIN THE DETAILING, CONSTRUCTION AND MATERIALS THAT IS UNIQUE”

Right: Giles Deacon Below: Purdey’s first house tweed, inspired by Tom Purdey

O RL ANDO GI LI

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London, like many of the great cities, performs that trick of being witness to perpetual change while somehow remaining quintessentially the same. Governments rise and fall, companies come and go, but the resident on the corner of Mount Street and South Audley Street in Mayfair has remained steadfast for nearly a century and a half.

It was 1882 when James Purdey moved his rifle-making operation from Oxford Street to its current location, but the company was formed by his father all the way back in 1814. It’s only in the past 50 years, however, that apparel has joined the roster of services for its well-heeled, well-travelled client base. That sideline now makes up a third of the overall business, earning the brand a reputation for high-end but wearable clothing well suited to country life, whether in the Cotswolds or Connecticut.

It’s easy to see the attraction of Purdey for its new-ish creative director, the British designer Giles Deacon, appointed a year ago. “I was brought up in the Lake District, very much with a sporting background, with family involved in the various country pursuits,” he says. “It’s a world I know well and have always had one foot in, as well as studying fashion, starting my own business and working at fashion houses in Europe.”

Deacon is one of British fashion’s leading lights. He had stints at Bottega Veneta and Gucci before becoming creative director for Parisian label Ungaro, then taking a similar role at Aspinal of London. He also launched a womenswear line, GILES, which evolved into couture for names such as Kylie Minogue, Beyoncé and Scarlett Johansson. Numerous awards have been collected along the way and the designer has branched out into interiors and illustration. It’s an extensive, eclectic résumé, and makes him a safe pair of hands to consolidate Purdey’s position in the luxury market – already strengthened by Simon Holloway, Deacon’s predecessor and now the creative director of Dunhill, another of parent-company Richemont’s prized properties.

That background, coupled with Purdey’s 211-year heritage, gave the designer abundant inspiration, which has resulted in Purdey’s first house tweed, initiating what Deacon intends to become a family of tweeds based on various Purdey ancestors.

“Looking in the archive, from a photographic perspective, one of the most visible [family members] was Tom, who was flamboyant and fun.” Tom Purdey, who became the company’s chief salesman in the 1920s, set off to America on sales campaigns in the 1930s and ’40s with a wardrobe versatile enough to work both in the countryside back home and while hobnobbing with the great and the good across the pond.

This is clearly a passion project for Deacon, whose work has long been defined by craftsmanship. The tweed is made in Hawick, Scotland, by a mill with century-old looms that Purdey has worked with for 25 years, and features 21 individually coloured yarns used in 16 combinations to give the tweed its unique texture. “Their knowledge is incredible,” he says of the mill’s technicians. “The dyeing techniques and weaving get you these beautiful, deep colours. The quality of the local, peaty water then gives it a softness, so you’re left with an incredibly detailed, practical but very wearable tweed.”

Deacon is already fond of Purdey’s clients, it seems. “They’re looking for a level of excellence within the detailing, construction and materials that is unique,” he says.

“We get a lot of American, Middle Eastern and European clients coming in, but they all have a genuine appreciation and understanding of what we do.”

Deacon is known for his surprising collaborations, and he seems intrigued by the idea of working with one of Richemont’s watch brands. In the past, Purdey has partnered with Panerai on a timepiece collection. A case of watch this space, perhaps?

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MALE ORDER

Caring is repairing A NEW WAVE OF APPS AND ONLINE SERVICES IS CONNECTING FASHION CONSUMERS WITH TRUSTED MENDERS AND CRAFTSPEOPLE, REPORTS KIM PARKER

PHOTO GRAPH BY LUK E EVA N S

Above: extending the life of your much-loved garments has never been easier

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W

hen it comes to make do and mend, a practical mindset is growing in popularity once again, especially among the younger generation of luxury consumers,” observes Hasna Kourda, founder of appbased clothing repair business Save Your Wardrobe. “They are demanding much more from the brands they patronise, including making them more accountable for repairs.”

Launched during the 2020 pandemic, Save Your Wardrobe, which has had more than 100,000 downloads, helps catalogue items in a user’s wardrobe and links them with an approved network of responsible menders, launderers, upcyclers and alteration specialists. Brands including Loro Piana Cashmere and Hugo Boss have partnered with the app.

“After working for another firm that supported companies to build more sustainable supply chains, I realised that many fashion brands weren’t focused on their product journey past the point of sale,” says Kourda. “Most of us only wear about 20 per cent of what’s in our wardrobes. If we can extend the life of our garments with good care and repair, it means less environmental impact and less waste. I’m a big believer in re-using the resources that are already in circulation.”

Indeed, with a dearth of local high street cobblers and seamstresses, apps and web-based businesses have stepped in to connect fashion-lovers to the right people to mend moth holes, sort scuffed heels, or repair a beloved handbag.

In London, the app SOJO offers an emissions-free bicycle courier service, to pick up and return items once they’re mended (nationwide orders are fulfilled by post). The company also partners with well-known brands including M&S, Arket, Margaret Howell and Paul Smith, allowing their customers to use the service as an extension of the brand’s aftercare.

Similarly, The Seam app connects clients with alterations and repair specialists across the UK (it is also a preferred partner of luxury e-tailer Net-A-Porter) allowing users to track the transformation of their bespoke Savile Row blazer or Bottega Veneta tote in real time. “Our difference lies in personal relationships. We connect the customer directly with a specialist who understands the value and character of their item,” says Layla Sargent, The Seam’s founder and CEO. “Our customers aren’t posting things off into the unknown, they’re connecting with a trusted craftsperson, often in their local area.” She says that the app has recently seen a rise in demand as people turn away from fast fashion buys and invest in longevity and quality, with menswear a growing area of business.

Ultimately, says Hasna Kourda, the success of repair businesses “is about making sustainability a practical choice.

We need to go back to caring more for what we already own.” “

14/08/2025 15:43

THE PEACOCK

GROOMING

Chest-iquette

G ET TY IMAG ES

Chest hair is back, declared one style commentator at the start of the summer, reporting from the twin fashion fests that are Pitti Uomo in Florence and the men’s shows in Milan. Bared chests might simply have been a reasonable response to the challenge of looking good during a heatwave at what are essentially trade fairs, albeit very glam, dressy ones. But is something more going on – is flaunting the male cleavage cool again, as well as merely cooling?

For sure, a bit of rug chimes with the 1970s vibe that, along with a moustache – as exemplified by TikTok sensation and Gant model Albert Muzquiz – feels very now. But the unbuttoned trend goes beyond a hairy, butch look, and is helped surely by the fact that few men these days want to endure the throttling sensation of wearing a tie. So what are the rules today – what is the new “chest-iquette”? It all depends what a chap is trying to convey with his cleavage. Muzquiz is channelling Tom Selleck, clearly. But Timothée Chalamet, shirtless and hairless beneath his Saint Laurent “smoking”, signals 21st-century androgyny, while Paul Mescal, teaming a vest with tailoring, mixes Brando-esque masculinity with something more boyish and more chic. The trick, then, is to know your chest, your audience – and your cultural references.

Details on display – N06

THE CARDIGAN WORDS BY JOSH SIMS

Pipe, slippers and cardigan. If ever a garment has been maligned by its association with what is, for many men, a later, post-fashion stage of life – you know, when you start to feel the cold more – then it’s this versatile and cosseting piece of knitwear.

Surprisingly, the cardigan’s origins lie in wartime; its invention is attributed to 19th-century British Army officer James Thomas Brudenell, 7th Earl of Cardigan, who led the ill-fated Charge of the Light Brigade. There’s even a touch of dandyism to the story: Brudenell didn’t just come up with his button-through design so he could wear it under his tunic to combat the cold nights of the Crimea, he also wanted something he could put on without messing up his hair.

For a long time, the cardigan raised eyebrows when seen on anyone under 40. It had been a staple garment for crooners such as Bing Crosby and Perry Como – more comfy than stylish – though Frank Sinatra, who favoured his in orange, pink or lavender alpaca for the golf course, somehow looked far cooler in his. But since then, the cardigan has also had a parallel existence as an indie favourite, most notably on Kurt Cobain, who wore his in mohair, full of holes.

The chunkier cardigan, with a shawl collar, was a go-to garment for style gods Miles Davis, Paul Newman and Steve McQueen. These days, musician and fashion-front-row-stalwart Pharrell Williams is among the men you often see sporting a cardie. And who can blame him?

As easy over a shirt as a T-shirt, under a coat or a blazer, the cardigan is cosy comfort with just the right hint of formality. This trusty sartorial stalwart has now transcended any one time period or genre.

And it even has pockets for your pipe.

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Above: Paul Newman’s shawl collar cardigan

Above: Paul Mescal embraces the new plunging neckline trend

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WELLBEING

Taking a summer walk in the countryside, it’s natural to look up and appreciate the open sky and wide horizons. Patrick Holden (pictured right) would prefer us to look downwards, however, and marvel at the extraordinary biodiversity beneath our feet that helps the plants on the surface to survive and thrive.

“If the soil is healthy, then plants will derive their nutrition from a symbiotic relationship with the soil, so that can be healthy as well,” says Holden. Plants will then pass on those nutrients to the animals that eat them – including ourselves, he explains. “So the health of soil, plants, animals and people is an interconnected whole.”

Scientists describe the community of organisms in the soil as its “microbiome”. In Holden’s view, it’s a direct analogy to the “gut microbiome”, the ecosystem of microbes that live in our intestines and help to maintain our digestion – a topic he will explore in detail at the Goodwood Health Summit this October. “We need to derive a deep understanding of the soil microbiome and how this connects to the health of the human population,” he says.

Holden has been an advocate of organic farming since the 1970s.

He was a director of the UK’s Soil Association from 2005 to 2010 and is the executive director of the Sustainable Food Trust, launched in 2011.

He has also worked as an agricultural advisor to the King.

In conversation, Holden’s passion veers close to religious zeal, which may run in his genes. “I come from a background of medics and missionaries,” he says. “One of my ancestors was a bishop in Tasmania, and another was a missionary in India.” Growing up in

London, he recalls savouring “glimpses of nature” during holidays in Cornwall, Devon and the Hebrides. Later, the family lived in a village in Hertfordshire for a year while his father completed his medical training. “It was pre-agricultural intensification, and I spent the whole year roaming in the woods and collecting birds’ eggs and butterflies, which you could do legally then.”

In 1970, Holden’s father was offered a visiting professorship at Stanford University in Palo Alto, California – and Holden, who was just 20, accompanied him. “It was a very interesting time to be in the San Francisco Bay area,” he says, “because all these green-thinking shoots were emerging.” He quotes a refrain from the Neil Young song After the Gold Rush – “Look at Mother Nature on the run in the nineteenseventies” – which was released that year. “That was me,” he says. “I was thinking, Jesus, we’re screwing up nature, and we’d better get back to the land.” When he returned to the UK, he moved to west Wales and set up an organic farm. “It was an impulse and an instinct,” he recalls.

Holden welcomes the latest research on the microbiome. As you may have read in the torrent of recent media coverage, our guts host a plethora of bacteria, fungi and viruses that help us to extract the nutrients we need from the food we eat. Many scientists now believe that tending this community is vital for our long-term health. The same is occurring in the soil around a plant’s roots, which, he says, mirror our own stomachs. “Plants exude sugary saps into their root zones, which nourish the symbiotic community of microorganisms – without which the plant could not take in the nutrients it needs for its growth.”

Earthly delights

ORGANIC FARMING PIONEER PATRICK HOLDEN IS ON A MISSION TO IMPROVE OUR NATION’S WELLBEING FROM THE GROUND UP. HERE, HE TALKS TO DAVID ROBSON ABOUT NUTRITION, THE SOIL MICROBIOME AND HIS UPCOMING APPEARANCE AT THE GOODWOOD HEALTH SUMMIT

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© SU STAI N ABL E FO O D TRU ST

SOIL HEALTH

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WELLBEING

Fungi are the keystone of this community. “They are able to break down the organic matter in the soil into a form that’s available for plant nutrition,” Holden explains.

Research on the gut microbiome has highlighted the dangers of overprescribing antibiotics, since they also wage war on the “friendly” microbes that are essential for maintaining health. Holden sees a direct parallel with intensive farming practices, with pesticides depleting the diversity of the organisms that would naturally help to sustain our crops. “It’s ironic that if you start to wipe out that soil life, then you induce a dependency on artificial fertilisers, because the plant can no longer nourish itself,” he says.

As a result, those crops begin to lack some of the nutrients that would help to keep our own bodies healthy, Holden believes. He describes a recent analysis of the carrots grown on his farm in Wales.

“Even in terms of the very coarse nutrients, they were dramatically better than the conventional carrot.” The difference, he says, was evident in the flavour. “This was totally unscientific, but everybody thought that our carrots were noticeably more delicious.”

While there is not yet a broad scientific consensus on the nutritional benefits of organic farming, emerging evidence suggests that organic food contains higher levels of certain nutrients that are known to be important for human health – such as iron, magnesium and vitamin C. Organic crops are also richer in phenolic compounds – the chemicals found in many berries and brassicas that give plants their vibrant colours and strong flavours.

In nature, these chemicals can protect the plants from predators and pathogens. “In effect, they are the plant’s immune system,” says Holden. In the human body, phenolic compounds act as “antioxidants” that mop up toxic chemicals that would otherwise wreak damage on our tissues. Crucially, phenolic compounds can also feed the friendly bacteria living in our gut, which will then help us to glean other nutrients from our food. Our preference for the taste of these ingredients is no coincidence, he says. “We have been hard-wired over millennia to recognise what we need. So our search for deliciousness in food is directly related to healthy plant nutrition.”

In all these ways, we and our microbiomes are interconnected with the soil, the plants that grow in it, and the animals that graze on the land, together forming a single ecosystem. “You cannot separate these strands,” he says. Yet that is what industrial farming has striven to do.

Holden emphasises that he is a “practitioner”, not a scientist, and would like to see more investigations in the field. “It would be interesting [for researchers] to talk to farmers and then validate their observations through good science, but that has not happened.”

As the evidence builds, he hopes to see greater regulation over food production, with incentives for producing more nutritious produce alongside interventions that will ensure people across society can afford it. “For at least 20 per cent of the population, the affordability of food is a major barrier [to eating more healthily],” he acknowledges. Simply raising knowledge and awareness of these issues will be essential to foment change. For this, he advocates “seeing is believing” experiences – a term he borrows from the King to describe educational programmes bringing the public into working farms. “If you get children onto farms, and enable them to understand some of these links, then it’s surprising how those impressions last.”

His passion, after all, was sparked by such experiences nearly seven decades ago. There have been some hard knocks along the way, but the results have been worth it. “Everything I’ve learned since then has been through practice and mistakes,” he says. “It’s not easy to produce food in harmony with nature. But it is very exciting.”

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Patrick Holden will speak at the Goodwood Health Summit, presented

by Randox Health, on 2 October 2025. This year’s summit explores the relationship between the soil microbiome and the human microbiome. Limited online audience places are available at goodwood.com/visit-eat-stay/health-wellbeing/health-summit/

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MEET THE EXPERTS The Goodwood Health Summit, presented by Randox Health, takes place on Thursday 2 October 2025.

Leading experts will debate topics and trends exploring the connection between the gut microbiome and the soil microbiome. Tickets to be part of the online audience cost £10, and are available at goodwood.com Alongside Patrick Holden and others, the summit will also welcome the following speakers:

DR FEDERICA AMATI A medical scientist and registered public health nutritionist, Dr Federica Amati PhD, MPH, MSc, RNutr is Head Nutritionist at ZOE and the Nutrition Lead at Imperial Medicine. Her knowledge, credentials and easy communication style have made her advice, notably on gut health, a hit on Instagram.

DAN KITTREDGE A lifelong farmer, Dan is a passionate advocate for growing nutrient-dense food. With decades of experience in regenerative agriculture and a deep understanding of soil science, Dan has made it his mission to empower farmers, gardeners and consumers to unlock the full potential of their crops and landscapes.

JAMES KINROSS James is a Consultant Surgeon and a reader in Colorectal Surgery and head of Speciality at Imperial College NHS trust. His clinical interest is in minimally invasive and robotic surgery for colorectal cancer, and he also performs translational research into the microbiome.

His book Dark Matter: The New Science of the Microbiome was published in 2023.

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IWC. Engineered.

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FOOD & DRINK

THE WHITE STUFF HEALTH-CONSCIOUS CONSUMERS ARE REDISCOVERING THE BENEFITS OF COW’S MILK – ESPECIALLY IN ITS RAW, UNPASTEURISED STATE. ALEX MOORE REPORTS ON ITS RISING POPULARITY

TI M FL AC H

T

he jury is still out on raw milk, yet more and more of us appear to be drinking it. At London’s Borough Market, the queue for Hook & Son’s various organic, unpasteurised dairy products would make any vendor proud. According to Steve Hook, who runs Longleys Farm in Hailsham with his father Phil, sales of raw milk – which hasn’t been pasteurised to remove all potentially harmful bacteria – are growing exponentially. At this rate, he hopes to be bottling five times as much within just a few years.

Hook, whose family has been farming in East Sussex for more than 250 years, believes the surge in interest is down to young people, mainly under 25, questioning the conventional wisdom surrounding pasteurisation. They’re seduced by the purported health benefits, he says, which – according to the (probably not entirely impartial) Raw Milk Institute – include decreased rates of asthma, allergies, eczema and ear infections. Plus, the RMI claims, many people who are lactose intolerant can consume raw milk quite happily.

In 2025, The Telegraph suggested that TikTok had been instrumental in bringing a dubious “raw milk craze” to Britain, warning of its health risks, and reporting that three million litres of raw milk are now sold in the UK annually (up from 600,000 litres in 2014).

“I’ve drunk raw milk most of my life and other than being slightly below average height, I don’t think it’s had any sort of detrimental impact,” jokes Goodwood’s Farm Manager, Harry Holt, with a wink.

“Then again, I couldn’t say, hand on heart, that it’s better for you, either.”

Around a third of the two million litres of milk Goodwood produces every year goes to the large-scale Danish dairy Arla Foods, the rest is processed in-house. Of that, Holt says, a small portion (about 200 litres per week) is currently sold as raw milk, but he expects that amount to change considerably over the next couple of years.

Holt and his team have recently replaced the farm’s traditional herringbone-style milking parlour with three state-of-the-art robotic milking machines. This not only allows the cows to be milked humanely – thanks in part to its teat-detection system, which gives animals more autonomy to be milked when they choose – it also makes the process

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far more hygienic, which is essential when producing raw milk. “For us, it’s purely about the cows’ welfare,” says Holt. And, as an added bonus, “It does also mean that our herdsmen get a little lie-in in the morning.”

Moreover, by identifying each individual cow as it enters the milking robot – using recognition tags placed on a cow’s ear – Goodwood’s new milking system (the Lely Astronaut) also promises a more energyefficient approach to milking. The tags also gather data points across cow health, grazing habits and milk yields. “We’ve got 220 cows in the herd,” says Holt. “This system helps us know which ones might need attention, and which ones we can leave to get on with their day.”

For people whose concerns about cows’ welfare put them off dairy, these kinds of exacting welfare standards and advances in technology could prove reassuring. The idea that cow’s milk is necessarily a less ethical choice than plant milk alternatives is now contentious, with controversy around crops such as soy. Waitrose reported that full-fat milk sales had skyrocketed by more than 400 per cent in February 2025, while in the US, sales for alternative milks – oat, almond, soy, etc – fell by 4.4 per cent in 2024, marking the first drop in more than a decade.

“People thought plant milks were more sustainable, but as we get more information, we discover that that’s actually quite a challenging statement to make,” says writer, historian and artist Dr JC Niala, who co-hosts the podcast Milk on the Move. “Almond milk, for example, requires huge volumes of water to produce, so the question of sustainability isn’t quite as straightforward as people believed.”

Meanwhile, Hook believes it’s only a matter of time until laws are relaxed. Since 1985, it’s been illegal to sell raw milk in supermarkets or high-street shops in England, Wales and Northern Ireland. Instead, it must be sold directly to consumers by the dairy farmers themselves.

In Scotland, the sale of raw milk is completely banned. “I’ve been preaching about raw milk for as long as I can remember,” says Hook, wearily. “And at last, we seem to be getting some traction.”

You can purchase Goodwood’s milk (raw or pasteurised) at Goodwood Home Farm Shop and from carefully selected farm shops and suppliers

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HIGHLIGHTS AUTUMN/WINTER 2025

CALENDAR

12–14 SEPTEMBER

REVIVAL The world’s greatest celebration of historic motor racing and the best of vintage fashion. See page 103 for details.

THROUGHOUT SEPTEMBER

HÉLIO OITICICA AT GOODWOOD ART FOUNDATION A newly unveiled large-scale installation by the Brazilian artist Hélio Oiticica (1937-80) is the first outdoor sculpture by the artist to be installed in Europe. Visitors to Magic Square #3 can move around the bold and colourful labyrinthine structure, interacting with the artwork in an immersive experience with nature.

2 OCTOBER

25 OCTOBER– 2 NOVEMBER

2 OCTOBER; 2 & 30 NOVEMBER

24– 25 OCTOBER, 1 NOVEMBER

GOODWOOD HEALTH SUMMIT Join the online audience for this summit, presented by Randox Health, where world-leading experts will explore the intricate relationships between the soil and human microbiomes, highlighting how these ecosystems influence each other and overall health.

GUT HEALTH PROGRAMME Our five-day holistic retreat is a transformative gut health overhaul, expertly designed to have a restorative effect on both body and mind.

OCTOBER HALF-TERM AT THE GOODWOOD HOTEL Activities inspired by Goodwood’s sporting passions will be available for all children during your stay at the Hotel – from tours of the hangars at the Aerodrome to coding and flying drones inspired by Festival of Speed.

THE KENNELS BONFIRE NIGHT CELEBRATION Gather friends and family to wonder at our awe-inspiring bonfire before we light up the night sky with an unspoilt view of our famous fireworks display.

9 OCTOBER SEPTEMBER– MARCH

GOODWOOD OFF-ROAD EXPERIENCE To understand the world’s love affair with Land Rovers, you’ve got to get behind the wheel of one – especially a classic.

Experience the thrill of driving one of these 50-year-old legends around Goodwood.

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PRODRIVER EXPERIENCE Be among the first to experience a new and exclusive offering at the iconic Motor Circuit. Precision engineering meets expert coaching for a track day like no other, designed for those who seek the extraordinary.

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Experiences On the Track & Street Drive Unique Vehicles Engage with Notable Automotive Figures

Expert Consulting Services Storage & Maintenance Consultation Worldwide Collaborative Events

A CAREFULLY CURATED ASSORTMENT OF IMMERSIVE AUTOMOTIVE EXPERIENCES FOR THE ENTHUSIAST. AudrainMotorsport.com | @AudrainMotorsport For more information or to inquire about a membership, contact us at info@audrainmotorsport.com 098_GW.indd Untitled-1 100 100

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HIGHLIGHTS AUTUMN/WINTER 2025

CALENDAR 24 OCTOBER

WIM HOF RETREAT Learn the three pillars of the Wim Hof technique and become happier, healthier and stronger.

16 NOVEMBER

MOOD FOOD RETREAT A powerful three-day reset for those looking to restore emotional balance, blend nutrition, mindful movement and targeted therapies, or simply feel more grounded and joyful.

24 NOVEMBER

ACTIVE LONGEVITY RETREAT A five-day wellness retreat exploring the link between a healthy gut and longevity – to maximise your healthy years.

29 NOVEMBER

REVIVAL RACING Take a step back in time and master the art of driving classic cars at speed with a fleet of expertly restored 1950s and ’60s saloons and GTs at the Motor Circuit.

12– 13 DECEMBER

APRÈS-SKI PARTY AT THE KENNELS Swap your suit for salopettes and step into an Alpine wonderland, as The Putting Green is transformed into the ultimate winter playground.

24– 27 DECEMBER

CHRISTMAS AT THE GOODWOOD HOTEL Join us for a gloriously relaxing three nights over Christmas, when you can truly unwind. From candlelit Christmas carols at Goodwood House to a traditional Christmas lunch and country walks on Boxing Day, you can enjoy every moment without lifting a finger.

24 JANUARY

BURNS NIGHT AT THE KENNELS Chase away the dreary January blues with an evening of Robert Burns poems, whisky and haggis, soundtracked by bagpipes and a traditional ceilidh band to get you in the Burns Night mood.

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CALENDAR 12–14 SEPTEMBER

REVIVAL

G

oodwood Revival once again promises to be an event like no other. Set within the enchanting time capsule of the 1940s, 1950s and 1960s, its three days are filled with delightful surprises and unforgettable moments. Revival’s “Revive & Thrive” ethos, inspired by the eras when “make do and mend” was a way of life, celebrates creativity, sustainability and retro charm.

Among this year’s standout moments will be a heartfelt tribute to one of motorsport’s most revered champions, the legendary Scotsman Jim Clark, marking 60 years since his second World Drivers’ Championship victory.

Each day of Revival will begin with a parade of quirky, rare and much-loved VW Type 2 Campervans, featuring the largest ever gathering of Type 2 Split Screens. Lovers of Italian engineering will revel in the centenary celebration of Alfa Romeo, with a stunning showcase of cars that reflect the marque’s glorious racing legacy and heritage.

All the beloved staples of Revival are set to return, with an exhilarating programme of racing, and appearances from motorsport legends and vintage-style icons – including the ever-glamorous Dita Von Teese.

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PHOTO FINISH

GOO DWOOD ESTAT E

Every picture tells a Goodwood story

TWO GENERATIONS OF THE GORDON LENNOX FAMILY, Gordon Castle, Scotland, mid-1870s.

For more than a century, members of the Gordon Lennox family divided their time between Sussex and Gordon Castle in Scotland, where this group has just enjoyed a day of shooting. The Gordon legacy was inherited via marriage in 1836, after the 5th Duke of Gordon died without a male heir, so the Lennoxes added Gordon to their surname, while in the 1870s Queen Victoria revived the Gordon dukedom and added it to the family’s clutch of titles.

In this photograph (far left and second from left), we see the Earl of March with his son and heir, Lord Settrington, both future Dukes of Richmond and Gordon. To the right, along with keepers from the estate, are March’s younger sons, Lords Bernard and Esmé Gordon Lennox – young boys who went on to have military careers, Bernard being killed in action in 1914. This Scottish connection came to an end in the 1930s, when death duties forced the 9th Duke to sell the Scottish estates.

There is, however, a happy coda to this family saga: in the 1940s Lord Bernard’s son acquired Gordon Castle – which now flourishes under the custodianship of his descendants.

From Goodwood Revival 2025, the GRRC’s hospitality area will be relaunched as the Gordon Pavilion, with décor embracing Goodwood’s Scottish links

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