GOODWOOD | ISSUE 22

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

£10.00

Summer 2022

Bottoms Up!

U LT R A - L I G H T E N G I N E E R I N G .

BLISTERING ELECTRIFIED POWER. S U B L I M E A G I L I T Y A N D E N G A G E M E N T. Artura isn’t simply our first series production hybrid. It’s the next-generation supercar.

To find out more, drop by the McLaren stand at Goodwood Festival of Speed - or head to c ars. mc lare n. c om

THE FULL FORCE OF McLAREN

LETTER FROM THE DUKE OF RICHMOND

speed into summer Summer sees a roar of activity here on the Estate. As this issue of the magazine goes to the printers, we will be well under way with the build for Festival of Speed (FOS) and its younger sister, Future Lab. Innovation has always been at the heart

of Goodwood, and is our FOS theme this year, so it is wonderful to see so many leaders from the world of motorsport hailing the trailblazers and innovators who have most inspired them. Find out who Sebastian Vettel, Susie Wolff and Gordon Murray have nominated on p36. We also take a fascinating dive into the future of cities – from 3D-printed architecture to urban farming – which will be a key focus of this year’s Future Lab. The summer months also see the horseracing season reaching its social peak with the charitable Ladies’ Day race, the Magnolia Cup. We have a wonderful line-up this year, all rising to the challenge of turning their riding hobby into a thrilling day in the saddle on the racetrack (p82). With racing colours designed by the leading British fashion designer Roksanda Ilinčić, it’s hard to imagine a more stylish sporting event.

Staying with fashion, we also preview our collaboration with the designer Molly Goddard, who is the winner of this year’s Goodwood Talent in Fashion Award and who is interviewed on p52. She has taken inspiration from our history and Art Collection, so it will be fascinating to see what she unveils on Opening Ceremony.

Meanwhile, with a nod to the past, our curator, James Peill, gives a sneak preview of this year’s Summer Exhibition, which is dedicated to my antecedent Henry Gordon Lennox (p46). He was a keen amateur photographer of the Victorian era, and his photographs provide a fascinating glimpse of Goodwood and Gordon Castle in the 19th century.

And finally, read about our very own Goodwood gin, a new creation and the Estate’s first, as featured in the gin martini on the Cover, Start and Finish pages of the magazine. A perfect toast to the season.

I hope to see you at Goodwood very soon.

The Duke of Richmond

6

Time travels the world.

ARCE AU LE TEMPS VOYAG EUR

TIME, A HERMÈS OBJECT.

CONTRIBUTORS

The front cover shows a martini made with Levin Down Gin, which is also the subject of Start and Finish, shot by Mitch Payne

Mitch Payne

Kim Parker

This issue’s cover was shot by Mitch Payne, a still-life photographer specialising in luxury goods, drinks and automotive photography. He has a decade of experience working on ad campaigns for brands such as Nike and Grey Goose, as well as editorial features for British Vogue and The Wall Street Journal.

Kim Parker is a London-based luxury journalist, writing about fashion, fine jewellery, watches and beauty for titles including Town & Country, Harper’s Bazaar and Vanity Fair. Often to be found riding horses around Hyde Park, she is racing in this year’s Magnolia Cup, which she discusses in this issue.

Emma Crichton-Miller

Ben Oliver

Editor of The Design Edit, an online magazine that focuses on collectibles, Emma Crichton-Miller also writes regularly about art and design for the Financial Times and Apollo magazine. In this issue she explores the history and recent revival of the “salon hang”.

Journalist, consultant and speechwriter Ben Oliver covers all things automotive for newspapers and magazines around the world – including The Mail on Sunday, Robb Report and The Economist.

His interviews include a long series of conversations with Elon Musk, starting in 2008.

Philippe Garner

Simon de Burton

Having been involved in the auction market for more than 50 years, Philippe Garner is a veteran.

After retiring as deputy chairman of Christie’s in 2016, he now works as a consultant to the firm and has published extensively on his specialist subjects: photographs and 20th-century decorative art and design.

A journalist and author, Simon de Burton is a leading authority on luxury cars, motorbikes, watches and boats for publications such as the FT’s How To Spend It, GQ and Octane.

In these pages he writes about the Marcos car with a glamorous provenance coming up for auction at Goodwood.

Editors Gill Morgan James Collard Deputy editor Alex Moore

Art director Sara Redhead Sub-editors Matthew Davis Natalie Reed

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

Assistant to the Editor Jonathan Wilson

Design Marco Minzoni Ewa Dykas

Project director Sarah Glyde

Picture editor Joe Hunt

Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Uncommonly Ltd, Thomas House, 84 Eccleston Square, London SW1V 1PX, +44 (0) 20 3948 1506. For enquiries regarding Uncommonly, contact Sarah Glyde: sarah@uncommonly.co.uk © Copyright 2022 Uncommonly Ltd. All rights reserved. No part of this publication may be reproduced without prior permission from the publisher. While every effort has been made to ensure the accuracy of the information contained in this publication, the publisher cannot accept responsibility for any errors it may contain.

8

VISIT US IN THE BONHAMS MARQUEE BEHIND GOODWOOD HOUSE

Viewing

© GPL

24 June | Catalogue Now Online

NOW ACCEPTING ENTRIES

ENQUIRIES

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

CONTENTS

START Shorts 14

Contacts

24

Photographer and keen rider Carys Jones has travelled the world in search of wild horses 27

A peek behind the scenes of Le Mans, Steve McQueen’s troubled 1970s racing movie 16

True colours

Letting it all hang out

28

22

Holy roller The Marcos 1600 GT driven

by Roger Moore in The Saint is up for auction at Bonhams

30

How the “salon hang” became an interior design staple 20

Welcome to the motorverse Why leading car marques are entering the complex and controversial world of NFTs

Roksanda Ilinčić has designed the silks for the female jockeys in this year’s Magnolia Cup 18

The mane attraction

No sweat Ben Dickens has designed a wardrobe of covetable classics for the new FOS collection

Back on track Thirty years after an accident left him paralysed, Wayne Rainey rides at this year’s FOS

32

Prop idols

35

The height of fashion Platform sandals are this summer’s statement shoe

The world’s best pilots are set to take to the skies in a thrilling race planned for Goodwood Racecourse

Club class Don White designed golf clubs for Nicklaus and Norman – his handcrafted irons might be just what your game needs

46

Past master

82

MP and early photographer – Lord Henry Gordon Lennox is the subject of Goodwood’s summer exhibition 52

GETTY IMAGES

58

Top: Molly Goddard has won this year's Goodwood Talent in Fashion Award.

Above: Ettore Bugatti's Type 32 Tank de Tours

10

The Innovators Some of the greatest names in motor racing nominate and celebrate the pioneers they believe have left an indelible mark on the sport

King of the row Established in 1806, Henry Poole & Co has made suits for royals, presidents, film stars and the riders in Goodwood’s Charlton Hunt revival

Features 36

Future cities From flying taxis and 3D-printed houses to jewellery made from smog – are we on the cusp of a brave new world?

66

74

Preparing to ride in this year’s Magnolia Cup has been the challenge of a lifetime for fashion journalist Kim Parker

Good golly Miss Molly Fashion designer Molly Goddard discusses rebooted femininity and her approach to the Goodwood Talent in Fashion Award

Preaching to the converted Design doyen Stephen Bayley explores the ups and downs of the convertible

From runway to racetrack

89

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

Diaries at the ready!

96

Lap of honour Model, muse and Goodwood regular Pattie Boyd on Bob Dylan, vintage cars and her dog, Freddie (Mercury)

finish

IWC TOP GUN.

Pilot’s Watch Chronograph TOP GUN

with textile inlay, are perfectly colour-matched with the

Edition “Woodland”. Ref. 3891: “Woodland”, a shade

light, scratch-resistant ceramic case, assuring this TOP

of dark green inspired by the flying suits of pilots at the

GUN Chronograph with its IWC-manufactured 69380

TOP GUN aviation school, is a newly developed colour

calibre of its spectacular monochrome appearance.

ceramic from IWC. The dial and rubber strap, complete

I WC . E N G I N E E R I N G D R E A M S . S I N C E 1868 .

IWC Schaffhausen, Switzerland · www.iwc.com

D OW N LOA D TH E IWC A P P FO R VI R T UA L TRY- O N IWC-manufactured 69380 calibre · 46-hour power reserve · Day & Date display · Stopwatch function with hours, minutes and seconds · Water-resistant 6 bar ∙ Diameter 44.5 mm

Start

The earliest written reference to gin, or jenever (the Dutch word for juniper), dates from the 13th century, but its roots can be traced back 200 years earlier to a drink made by monks in southern Italy whose monastery was surrounded by juniper.

While juniper remains a key element in all gins, modern makers use a variety of ingredients. On these pages you can see coriander, wild gorse flower, mint and juniper – botanicals used in Goodwood’s own Levin Down Gin. Handcrafted using traditional methods and distilled with mineral water chalkfiltered through the South Downs, it is an authentic London Dry from the wilds of West Sussex, luxuriously soft on the nose and perfectly balanced on the palate. In 18th-century Britain, the spirit was so popular, so strong and so cheap that it caused a moral panic: the Gin Craze was associated with women neglecting their children (mother’s ruin). The ensuing Gin Act was designed to crack down on consumption. But gin never went away: colonial officials drank it with Indian tonic, which contained quinine to keep malaria at bay. Then, in 1911, Martini di Arma di Taggia, a bartender at the Knickerbocker hotel in New York, invented the gin martini for America’s first billionaire, John D Rockefeller – cementing gin’s place in the pantheon of aqua vitae once and for all, as seen on our cover.

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13

SHORTS CONTACTS

Raymond Depardon, Le Mans, 1970 In our series delving into the contact sheets of famous photographers, we tell the story of Steve McQueen’s notoriously troubled movie Le Mans

French photojournalist Raymond Depardon, 79, began his career working in conflict zones in Algeria, Vietnam, Biafra and Chad, where he covered the kidnapping of a French ethnologist, Françoise Claustre. He later made the story into a film, La Captive du Désert. Depardon’s gritty style of reportage took him around the world – but his subject matter wasn’t all urban wastelands and war. Indeed, he once said: “I don’t regret the numerous pictures of Brigitte Bardot, but I’d rather have a good photograph of my father.”

He also dipped his toe into the world of motorsports. In 1988 he spent a season tracking the Brazilian Formula 1 star Ayrton Senna; in 1990 he shot the Paris-Dakar Rally; and in 1970 he joined American actor Steve McQueen on the notoriously troubled set of racing movie Le Mans. This shot shows a shirtless McQueen with supporting actor Siegfried Rauch and the film’s second director, the pipe-smoking Lee H Katzin – its first, John Sturges, famously walked off the set, saying: “I am too old and too rich to put up with this shit.”

For McQueen, Le Mans was a passion project, a way to combine his two great loves. It was also his first (and last) attempt to call the shots as a producer. Not long before this picture was taken, Cinema Centre Films – which had invested $6m in the production (equivalent to $42m today) – had attempted to replace him with Robert Redford. McQueen steadied the ship, but was forced to surrender his fee. The movie was a flop and the great actor never really recovered from the ignominy. He failed to show up for the première and, as his first wife, Neile Adams, recalled in 2015, after that “the world became a different colour to him”.

The film has since become a cult classic. If nothing else, McQueen achieved his goal of giving audiences a naked, raw portrayal of the sport he held so dear. And who could forget the film’s most famous line? “When you’re racing, it’s life. Anything that happens before or after is just waiting.” magnumphotos.com.

14

MAGNUM PHOTOS

Words by Alex Moore

15

SHORTS ROKSANDA FASHION

Words by XXXX XXXX 16

GETTY IMAGES

SHORTS ROKSANDA

“I wanted to celebrate and champion these truly inspiring female jockeys by creating something that will give them extra confidence and optimism,” explains the fashion designer Roksanda Ilinčić, when asked how she set about creating racing silks for this year’s Magnolia Cup – a much-loved event held on Ladies’ Day at the Qatar Goodwood Festival, when amateur riders take to the course to raise money for charity.

Racing silks traditionally feature the colours of the horse’s owners. They are heraldic, often originating with the colours of aristocratic owners’ coats of arms – although today they’re more likely to proclaim which leading stable has trained the horses. But for all their pageantry, they’re also practical: designed to be easily recognisable when viewed from the stands amid a posse of fast-moving riders and horses. For the Magnolia Cup, however, the silks are one-offs, created to reflect the blend of glamour, determination and camaraderie that characterises the race. They are as much a part of the éclat of Ladies’ Day as the smart dresses, hats and, dare we say it, fascinators worn by the well-dressed race-going crowd.

This isn’t Ilinčić’s first foray into designing silks for Glorious Goodwood. “I first engaged with Goodwood back in 2015,” she recalls, as one of “a handful of London-based designers who each created a racing silk for the race. It is so lovely to be given the opportunity once again, and this time for all of the jockeys in competition.” Rest assured that the silks worn by this year’s contestants, which will be revealed on the big day, have all the impact of an Ilinčić runway show. “They are all repurposed from my recent archive,” the designer says, “highlighting some of my favourite prints in bright colours.”

After studying architecture and design in Serbia, Ilinčić came to London to study fashion at Central Saint Martins.

She launched her eponymous ROKSANDA collection in 2005 and quickly became renowned for her spectacular use of colour and pattern in clothes exuding femininity, glamour and poise: qualities that gained her an international following, including former First Ladies Michelle Obama and Melania Trump, the Duchess of Cambridge and Hollywood stars such as Anne Hathaway, Cate Blanchett and Emily Blunt.

“My collections are always led by vibrant colour combinations, prints and volumes,” Ilinčić explains. This season she wanted to “acknowledge our collective grounding and the comfort-bringing protective layers we cocoon ourselves in, while retaining a sense of lightness and beauty”.

The Magnolia Cup isn’t just about colour and beauty.

It is an opportunity for amateur riders to train and compete seriously, and an important fundraising moment for charity.

Ilinčić doesn’t ride, “but my niece Lulu de Mesquita is a professional rider, and is responsible for making me fall in love with horses and races. Watching her compete is always a highlight in the family calendar.”

Ilinčić was keen to support the beneficiary of this year’s race, The Brilliant Breakfast. “A charity run by women to support women speaks dearly to me. Goodwood brings together community, sports and charity – in such a stylish way. I am looking forward to attending this year’s race!”

The Magnolia Cup will take place on Ladies’ Day as part of the Qatar Goodwood Festival, July 26-30.

true colours Fashion designer Roksanda Ilinčić has brought her trademark glamour and poise to the racing silks she has created for the Magnolia Cup on Ladies’ Day at Goodwood

Words by James Collard

Facing page: Roksanda Ilinčić. Above: pieces from the designer’s autumn/winter 2022 show at London Fashion Week in February

17

SHORTS SALON HANG

LETTING IT ALL HANG OUT Famously found at the Royal Academy’s Summer Exhibition and in great houses such as Goodwood, the “salon hang” – the artful arrangement of multiple pictures in a room – is also a feature of the most fashionable contemporary interiors Words by Emma Crichton-Miller

Lorem poter ciissunde non et quo blanis arum ratis que porat darqui ilisin consetarem, 0000

18

Below: the 2018 Summer Exhibition at the Royal Academy in London.

Right: a watercolour of the ballroom at Goodwood by designer Alec Cobbe

GETTY IMAGES

In 1982 the American artist Allan McCollum produced a work entitled Collection of 40 Plaster Surrogates – 40 objects that looked like framed paintings, in a range of sizes, with a black rectangle where the image should be. Hung on the wall in close proximity to each other, the “paintings” were made from enamelled terracotta. The idea was to draw attention to the hang, the way paintings are arranged on a wall. The pattern is rhythmic and alluring; individual paintings become part of a sculptural installation. Today this practice is commonplace for designers, but at a time when fashionable interiors were all white walls and blank space, it was radical.

As the Royal Academician in charge of displaying the entries for this year’s Summer Exhibition at the RA, where the “salon hang” is a proud tradition, sculptor Alison Wilding wryly comments: “I have just googled ‘salon hang’, and to my surprise it is not just a curiosity of the RA Summer Exhibition, but an acceptable way in the world of interior design to create a wall of paintings or framed works.” In the context of the exhibition, however, cramming the walls is a necessity. “We have looked at over 15,000 images and about 1,200 will be hung or installed.”

The salon hang was born in 1667, when Louis XIV sponsored an exhibition of works by members of the Académie Royale de Peinture et de Sculpture. From 1725 this became an annual event, held in the Salon Carré at the Louvre. So vital was recognition by the Salon for any artist’s career that pictures were mounted high to the ceiling. The RA adopted the style for its Summer Exhibition, held every year since 1769. We can see from prints and paintings of the time how audiences had to crane their necks to do full justice to the stacked displays.

By the mid-Victorian period, more than 2,500 works would be competing for attention. Artists began to commission huge architectural frames as a way to control the space around their images. Then, in 1877, Sir Coutts Lindsay and his wife, Blanche, founded the Grosvenor Gallery. Enthusiastic supporters of the pre-Raphaelites, they allowed each painting its space on a white wall. Although the gallery closed in 1890, the grip of the salon hang had loosened.

The style’s contemporary revival is striking, as anyone who has visited a branch of Soho House will have noticed.

Kate Bryan, head of collections, has made a fine art of artfully displaying the 5,000 works in the private members’ club’s collection. She reports: “The members often ask us, ‘How can I build a good-looking art wall like that?’” With a good eye and careful planning, anyone can create a hang that is more than the sum of its parts.

In many great houses, the salon hang never went away.

The Irish artist, designer and decorator Alec Cobbe is responsible for the interior decoration and rehanging of painting collections at several historic houses, including Goodwood. He has spoken about the dynamic interaction of architecture and paintings, telling Architectural Digest: “In a room of architectural merit, you can’t ignore the volume, the dimensions. Rehanging pictures can change your entire perception of a space... The 20th-century reaction to Victorian clutter has encouraged us to hang pictures in isolation. They may gain clarity and be seen in better light that way, but they do lose their original architectural role.”

Yet however impressive the soaring walls of works at the Summer Exhibition may be, artists are not always thrilled to be exhibited salon-style. As Wilding puts it: “Some artists inevitably draw the short straw and find their painting nearer the ceiling than the floor.” Craned necks are here to stay.

19

SHORTS WAYNE RAINEY

Back on track Three decades after a crash that left him paralysed from the chest down, former motorcycle champion Wayne Rainey is making an inspirational return to the saddle Words by Peter Hall

Until the afternoon of September 5, 1993, Wayne Rainey was on top of the world. The 32-year-old Californian, a triple Grand Prix motorcycle champion, was leading the Italian GP at Misano when the rear tyre of his Yamaha YZR500 slid across the tarmac, hurling him into a deeply furrowed gravel trap. In that moment, everything changed.

The impact inflicted a T6 and T7 spinal-cord injury that left Rainey paralysed from the chest down.

His life had revolved around racing, so just six months later, having sought advice from Formula 1 team owner Frank Williams, who had been confined to a wheelchair since a road accident in 1986 (and who is the subject of a memorial tribute at this year’s Goodwood Festival of Speed), Rainey accepted a job as Yamaha team manager. Still coming to terms with his disability, he found the role both physically and mentally difficult. His father, Sandy, and former teammate Eddie Lawson put him back on track with a 140mph hand-controlled Yamaha-powered superkart. “Competitively, it gave me my life back,” Rainey recalled. “I could do things as I did before. I’d just do them a little differently.”

He still couldn’t ride a motorcycle, but that changed with an invitation to the 2019 Sound of Engine event in Japan. A Yamaha USA team prepared an R1 superbike for him, fitting hand-operated gearshift buttons, a grippy seat, a lap belt and foot pegs with clip-on boots. He approached his first test ride with trepidation – as might any 59-year-old who hadn’t ridden in 26 years – but soon regained his confidence.

“I had a great time. I felt young again!”

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It will be an emotional moment when he rides again at Goodwood, this time on his 1992 title-winning Yamaha YZR500. This will be Rainey’s first visit to FOS, and he is excited: “It’s a once-in-a-lifetime opportunity. I want to thank Yamaha for preparing the bike, MotoAmerica for making the project fly and The Duke of Richmond for making it a reality.

I can’t wait to meet the fans at Festival of Speed.”

For anyone who thinks disability is a bar to participation in motorsport, the fact that a paraplegic 61-year-old can ride a 160bhp GP bike should prove almost anything is possible.

Indeed, much has already been achieved. Consider paraplegic motorcycle racers Talan Skeels-Piggins and Andy Houghton of the Yamaha UK-supported Talan team. Justin Rankin, an American kart racer with cerebral palsy. Paraplegic racing driver Sam Schmidt in his Chevrolet Corvette at last year’s FOS. Paraplegic drivers Takuma Aoki and Nigel Bailly, in their LMP2 Le Mans prototype. Or Billy Monger, who overcame a double leg amputation to win the F3 Pau GP. Better still, talk to Nathalie McGloin, tetraplegic Porsche racer and rally driver, founder of the Spinal Track charity and president of the FIA Disability and Accessibility Commission. “I leave my wheelchair in the pits,” she declares.

“When I’m lining up on that grid with my helmet on, no one knows I’m female or have a spinal injury. I’m just another driver – and that’s the way it should be.”

Wayne Rainey will compete in the Hillclimb at Goodwood Festival of Speed, June 23-26. For more inspiration, visit @fia_disability_accessibility on Twitter.

GOLD AND GOOSE, ALAMY

Left: Wayne Rainey will ride his title-winning Yamaha YZR500 at the Goodwood Festival of Speed. Top: Rainey in action before his crash in September 1993

22

SHORTS AIR RACING

In its heyday Red Bull Air Race was the world’s largest live sporting event, attracting more than a million spectators at races in Barcelona, Porto and Rio de Janeiro. That’s not to mention the 230 million fans at the business end of the broadcast, watching on screens in 187 countries around the world. But after 16 years of breakneck aerobatics (try 10G for size) and all-round derring-do, Red Bull discontinued the championship in 2019, leaving a stunt-plane-shaped hole in the world of competitive aviation.

That hole soon proved too big to ignore, so the Air Race World Championship (ARWC) stepped in, with ambitious plans for a relaunch involving some of the world’s most accomplished pilots. “Building on the amazing Red Bull legacy, Air Race is well positioned to deliver one of the world’s most thrilling and pioneering global sporting events – focused on future tech, innovation, clean energy and spectator experience,” says Willie Cruickshank, race series director at ARWC. “Through the introduction of new race formats and categories, we hope to attract even more fans and deliver a captivating spectator experience.”

ARWC hopes to launch the Elite XR\1 category – which will feature 12 teams headed by crack pilots such as the reigning Air Race champion, Australia’s Mat Hall, and his Czech arch-rival, Martin Šonka – this autumn at Goodwood.

“Set in the beautiful West Sussex countryside, Goodwood Racecourse is a perfect location to host what looks to be our only land-based race circuit this year,” says Cruickshank, who was an RAF fighter pilot for 26 years before joining the Norfolk-based Wildcat Aerobatics team, then Red Bull Air Race. “Goodwood is obviously an iconic venue in the UK – for many, it’s the home of motorsport.”

For that’s exactly how Cruickshank and his team view the championship, branding it the fastest motorsport in the world. The planes and Air Gates will remain the same, but the format has changed slightly, with a three-round elimination competition similar to qualification in Formula 1.

As well as providing aerial thrills and spills, ARWC intends to become carbon-neutral by 2025. To this end it is working with technical partners such as Prometheus Fuels, an American energy company that seeks to create fuel from air by stripping CO2 molecules from the air and converting them into hydrocarbons, which are then made into fuel.

This progressive approach is reflected in all aspects of the sport. “Air racing is one of the few sports where male and female competitors can compete head-to-head, without any competitive advantage,” says Cruickshank. “We currently have one female pilot [reigning British Unlimited Aerobatic Champion Mélanie Astles] racing in the Elite XR\1 category and a further three female pilots developing their racing skills at the Academy, with the aim of competing in the Aero SR\2 category. Diversity of ethnicity and sex is something we’re keen to support as we go forward.”

Air Race World Championship’s inaugural meet will be at Goodwood Racecourse, September 3-4.

prop idols The thrilling sport of air racing was once the world’s largest live sporting event. It’s back after a three-year hiatus – and its daredevil pilots are coming to Goodwood this autumn Words by Alex Moore

Main picture: the Blades will be one of the 12 teams battling for glory in the Air Race World Championship.

Above: competitors must navigate Air Gates

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SHORTS CARYS JONES

THE MANE ATTRACTION

Carys Jones has always loved riding and photography. She explains how she combined her very different passions to create equestrian fine art Words by Alex Moore

Below: Cascade, one of Jones’ limited-edition fine-art prints

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Above: in Reflections of the Camargue, expanses of sky ‘obliterate’ the background

Lorem poter ciissunde non et quo blanis arum ratis que porat darqui ilisin consetarem, 0000

For most of her life, Carys Jones’ two great passions coexisted, but never coincided. She took up riding and photography at an early age – later becoming an accomplished showjumper and photographer – but never found the opportunity, or indeed the inclination, to marry the two. That is, until 2012, when Jones was asked to capture a series of portraits of horses and their owners, a commission she enjoyed, but admits felt slightly restrictive.

“From that point on I could see the possibilities of shooting horses, but I was keen to really develop my own style,” says the Surrey-based photographer. “With my limited-edition fine art prints, I suppose I’ve become more and more abstract over the years.”

Jones has developed two strands of equine photography: the more literal “horses in their purest sense”, and the more figurative “painting with my camera”. For the former, she concerns herself more with the environment, opting to shoot in snowy conditions or beneath expanses of sky that “obliterate” the background. For the latter, she experiments with slow shutter speeds, intentional camera movements and multiple exposures.

Such requirements have led Jones to some of Europe’s more inhospitable landscapes. In the Outer Hebrides she went in pursuit of the Eriskay pony, an ancient breed that is critically endangered, with fewer than 400 left in the wild.

“Still, they’re everywhere,” she says. “They’re all over town in the winter, and up in the hills during the summer. You’d think they were wild, but actually there is human intervention [on the Isle of Eriskay] to maintain their wellbeing.”

Jones says she is drawn to shooting horses in their native environment, where they can “exhibit their natural habits and characteristics”. She adds: “A herd will have its own pecking order, so it’s interesting to see how the young horses are knocked into shape by the older ones. And it’s wonderful to see mutual grooming – quite often, it’s literally a case of ‘You scratch my back, I’ll scratch yours’.”

For the most part, however, she is keen to portray some of the hardships and challenges these noble beasts endure.

“They survive bitterly cold winters without any form of shelter,” she says. “So I try to get a sense of those extreme conditions. I really admire their resilience.”

It’s a similar story in Iceland, except that there are 85,000 horses to 350,000 people. Icelandic horses are popular around the world because they are one of the few breeds with five gaits. Most horses walk, trot, canter and gallop, but Icelandic ponies can also tölt – a gait that, according to Jones, is so smooth, “you could drink a pint of beer while riding”.

Not that it makes photographing them any easier.

Capturing images of these semi-wild horses is problematic, largely because they are extremely inquisitive. “They’ve never had any reason to fear humans, so they’re easy to approach,” says Jones. “But that makes it difficult to create any distance – they’re always sniffing around your rucksack, looking for food. They’re usually very friendly creatures.”

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SHORTS NFTS

Welcome to the Motorverse The automotive industry is nothing if not innovative, so it was only a matter of time before it dipped its wheels into the metaverse. Some of the world’s most prestigious car manufacturers have created NFTs (non-fungible tokens) to help fans connect more directly with their favourite marques.

This is a trend surrounded by hype and confusion – so, to be precise, the NFTs in this context are digital artworks that can be bought using specific cryptocurrencies. In most cases the manufacturer has partnered with an artist to create a car-related design, ownership of which is immortalised on the blockchain and occasionally comes with extra perks.

McLaren, for example, has introduced a digital collectible programme whereby fans can buy CAD-drawn components of the MCL35M F1 race car. The collectibles have been released over five “drops”; they can be traded and resold on the secondary market, with the first person to assemble all 22 winning a VIP F1 race experience. Similarly, anyone who bought one of Mercedes-Benz’s G-Class-inspired NFTs was entered into a draw to win a physical G-Class. Mercedes commissioned prominent artists associated with NFTs, including Charlotte Taylor x Anthony Authié, Roger Kilimanjaro, Baugasm, Antoni Tudisco and Klarens Malluta, and sold their digital artworks for a limited time on Nifty Gateway, an online auction platform for NFTs. Both companies claim to be exploring a new interactive approach to merchandising, but it is hard to overlook the immediate financial returns.

Other car manufacturers appear to have created NFTs more for art’s sake. For Space Time Memory, Lamborghini worked with Swiss artist Fabian Oefner to create a series of 600-million-pixel images of a Lamborghini Aventador Ultimae disintegrating as it escapes the earth’s atmosphere.

Oefner’s work, which often depicts iconic cars exploding, has huge appeal in itself, but the Italian marque sweetened the deal by packaging the QR codes for the NFTs in Space Keys made from carbon-fibre pieces that had been sent to the International Space Station. The NFTs raised almost $660,000 at auction, further demonstrating the potential of these digital revenue streams.

Rolls-Royce, on the other hand, created its first NFT to speak directly to its younger, “rule-breaking” Black Badge fan base. To promote the launch of the Black Badge Ghost, it commissioned graphic designer Mason London – who has recently worked with Nike and the American hip-hop label Stones Throw Records – to create a one-off NFT that reflects the more artistic side of the car’s target demographic.

Yet the crown for the most innovative use of an NFT surely goes to Alfa Romeo. When it launches later this year, the Tonale SUV will be the first car on the market to come with an NFT, capable of storing vehicle data such as service history on the blockchain – in order (hopefully) to maximise the car’s resale value. You might not get a digital artwork, but it does sound pretty nifty.

Leading car marques are latching on to the NFT trend, teaming up with artists to create desirable digital collectibles – from a virtual McLaren F1 car to a disintegrating Lamborghini Aventador Words by Alex Moore

Right: Swiss artist Fabian Oefner created this NFT for Lamborghini

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SHORTS BONHAMS

Whether driving a convertible Range Rover in Octopussy, a Lotus Esprit in For Your Eyes Only, an Aston Martin DBS in The Persuaders! or that “other” silver DB5 in The Cannonball Run as pseudo-007 Seymour Goldfarb Jr, the late Sir Roger Moore always made a car look cool.

Yet seldom did he seem more urbane than at the controls of his white Volvo P1800 while starring as Simon Templar in the television series The Saint, a part he played through much of the 1960s, and which set him up to be the third official cinematic James Bond (not counting David Niven’s appearance in Casino Royale, a 007 parody made in 1967).

That Volvo and its unmistakeable ST 1 registration might be synonymous with Templar, but it wasn’t the only car he drove in the series – in the final episode, The World Beater, screened in 1969, he’s seen competing in a rally in the Marcos 1600 GT pictured here. The car’s moment of fame came after the customer who originally ordered it failed to go through with the purchase, leaving it to be sold to an engineer from Borehamwood – who worked at nearby Elstree Studios, where The Saint was filmed.

Other than the celluloid record of Moore driving the car, little is known of its history before it was tracked down and bought, decades later, by former Marcos Cars workshop manager Rory McMath. By then painted black, the car was almost unrecognisable – save for its distinctive registration plate, BAR 64F. McMath kept the car until 2020, then sold it to a fan of The Saint who commissioned McMath’s firm, the leading marque specialist Marcos Heritage, to restore it to its exact specification during that fleeting small-screen appearance.

Now in pristine condition, with its white paintwork gleaming and its sporting interior reupholstered in the correct red leather, the car retains its original chassis, gearbox, Ford 1600 GT engine and fold-back Webasto sunroof – but also benefits from a host of tweaks added during the rebuild.

These include an engine tuned to “fast road” specification, uprated brakes and suspension, and a more vocal big bore exhaust system (of which the gentlemanly Templar may well not have approved). If you fancy picking up where the Saint left off, the Marcos is set to cross the block at the Bonhams Goodwood Festival of Speed Sale on June 24. It won’t be the first car with filmic provenance to be sold by the house – or, indeed, the first to have passed through Moore’s hands.

Back in 2014, the Aston Martin DBS he drove while playing Lord Brett Sinclair in The Persuaders! achieved a record £533,000 at a sale dedicated to the marque, and in 2020 the Mercury Cougar that appeared alongside George Lazenby’s Bond in On Her Majesty’s Secret Service achieved £356,500 – more than double the estimate.

Bonhams has also sold the Leslie Special driven by Tony Curtis – Moore’s co-star in The Persuaders! – in the 1965 film The Great Race (it fetched $112,000 in 2019), and the 1949 Buick Roadmaster convertible that features alongside Dustin Hoffman in Rain Man. The star kept the car after making the film, but had it auctioned by Bonhams earlier this year, where it sold for $335,000.

The Simon Templar Marcos 1600 GT is more modestly estimated at £70,000-£80,000. As any Marcos fan will know, that is considerably more than examples of the car typically sell for, but few can match BAR 64F for condition.

And no other example, of course, benefits from the Saint’s famous halo effect.

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holy roller This sporty Marcos 1600 GT earned its stripes with an appearance in The Saint, driven by Roger Moore.

Immaculately restored inside and out, it is sure to raise a few bids – and eyebrows – at the Bonhams Goodwood Festival of Speed Sale Words by Simon de Burton

BONHAMS

SHORTS CLASSICAL RIDING SCHOOL

Far left: Roger Moore as the Saint, with the Marcos 1600 GT. Above: the restored devil-red leather interior

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SHORTS GOODWOOD RETAIL

No sweat

Fans of the Festival of Speed can wear their passion on their sleeve – Ben Dickens’ luxurious new clothing range gives Goodwood’s motor-racing legacy a contemporary twist

Above: the Letterman jacket from the first Goodwood Festival of Speed collection

by Ben Dickens

Words by Catherine Peel

Turning event wear into desirable fashion attire isn’t the easiest of tasks, but when design consultant Ben Dickens (ex Burberry and Tommy Hilfiger) was introduced to The Duke of Richmond last year by a mutual friend, he jumped at the opportunity. “Having lived in Amsterdam for five years, I had a rose-tinted view of everything and anything British,” Dickens says. “It was serendipity that brought me here – you can’t really get more British than Goodwood!”

His debut collection includes nods to racing legacy such as laurels and the chequerboard, as one would expect. But Dickens, in discussion with The Duke and Marcus Black (a leading luxury fashion consultant), concluded that the new Festival of Speed collection, which includes T-shirts, sweatshirts, hoodies and bomber jackets, needed to feel contemporary. “Physicality and movement is a huge focus of the festival, particularly with Future Lab – “How do we move now?” and “How will we move in the future?” are the 30

questions on everyone’s lips. So, when it came to designing, it was about embracing the spirit of the past, but being much more forward-facing.”

Above all, the focus is on craftsmanship, quality, execution and attention to detail. As Black says: “We want to be proud of everything bearing the Goodwood name. To create products made from the finest yarns and materials, using the best manufacturers and techniques, was a must.”

The Revival collection, available this autumn, will draw on more vintage inspiration. “I’m fascinated by the history of the Estate as a whole, from The Kennels to aviation, motor racing, dogs and, of course, technology,” Dickens says. “What I hope is that we can bring a little Goodwood magic – that rare combination of an authentic past with a strong dash of innovation – so that the clothes feel relevant and desirable to a modern audience.” shop.goodwood.com.

Dominating Performance Iconic Design Revolutionary Technology

Official Czinger Dealer in the UK

hrowen.co.uk/czinger 020 8704 4523 OFFICIAL DEALER

SHORTS PLATFORM SANDALS

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The height of fashion A staple of the countercultural 1970s and the clubbing 1990s, the platform sandal is more elegant and playful than ever – and ready for its season in the summer sun Words by Alice Newbold

Platforms are the height of fashion again, with a host of brands bringing club-kid glamour bang up to date for now.

It started, as is the way with most things fabulous, at Versace.

The queen of vertiginous footwear, Donatella Versace, has been dialling up the drama with Medusa-emblazoned heels since the pandemic – when, arguably, everyone needed a little extra oomph. Her thick-soled mandate caught on and platforms were hailed the ultimate “re-emergence shoe” by an industry seeking an antidote to sweatpants.

Donatella is never one to be upstaged, so by the time everyone else was doing stacked stompers for spring/summer 2022, she had called on Naomi Campbell, Gigi Hadid, Dua Lipa and Madonna’s daughter Lourdes Leon to model her latest towering footwear proposition.

(This, of course, is the woman who once said she treats fashion as a weapon.) Versace’s glitzy show, with its micro miniskirts and nostalgic motifs – including a safety-pin detail that called to mind Elizabeth Hurley’s famously risqué red-carpet dress – evoked the unabashedly sexy and playful mood of the 1970s.

The platform’s hedonistic heyday saw models Jerry Hall and Marie Helvin party hop from Studio 54 to the 21 Club in disco shoes made for dancing, and musicians such as David Bowie, Elton John and Mick Jagger command attention in androgynous heels that signalled gender fluidity long before that became a buzz phrase. By the time Vivienne Westwood and Malcolm McLaren set up Sex, their shop on the King’s Road in London, punk rockers were joining in the platform movement, teaming tartan and studded leather with creeper styles.

Proof that trends are circular came at the Brit Awards last year, when the platform’s new-age poster girl, Dua Lipa, performed in Westwood’s Ghillie heels – the superelevated shoes that Campbell made famous in 1993, when she tripped on the runway while wearing a purple pair.

(The image of Campbell dusting herself off and putting her best foot forward made it into the V&A’s 2015 exhibition Shoes: Pleasure & Pain.) Along the way, the Spice Girls sparked soaring sales of Buffalo boots and Lady Gaga spent $295,000 on three pairs of Alexander McQueen’s Armadillo shoes to add to her vast platform collection.

This season’s supersized heels are less artsy, more sassy. At Gucci, platforms look both retro and modern when paired with old Hollywood-style suiting and seductive lingerie-inspired evening wear. At Saint Laurent, they’re dangerous with blazers worn as dresses and second-skin bodysuits, while the mood at Moschino is playful, with candy-coloured, campy minidresses. The rules? Stand tall – and, if you take a tumble, stride out again with the shoulders-back, head-up confidence of a supermodel.

Left: Versace’s vertiginous Medusa Music platform mules, available from mytheresa.com

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SHORTS BEST GOLF IRONS

club class

Jack Nicklaus and Greg Norman used Don White’s handmade irons. He is still grinding clubs at National Custom Works

Few golf fans have heard of Don White, yet he has 14 majors to his name – or, at least, his handcrafted irons do Words by Farhad Heydari

Mention the name Don White to even the most learned golf enthusiast and you’re likely to be met with a quizzical look. Only a select few hundred of golf’s global cognoscenti would be able to regale you with tales of the dexterity, devotion and discipline of his craft: hand-forging golf clubs. For while much of today’s top-end golf equipment is high-tech, the appeal of White’s irons is that they are produced in pre-industrial fashion, by hand.

When people talk about “custom golf clubs”, they usually mean the best off-the-rack options. But White, whose clubs have 14 majors to their credit, courtesy of names such as Nicklaus and Norman, isn’t handing you a clubhead and shaft combination: the master craftsman is grinding it for you by hand, much as he did for discerning low-handicappers for all those years at the MacGregor golf company.

Some of his beautiful early creations, which were fashioned using only a lathe, can be found for sale if you take a deep dive into online golf forums – but be warned, they’re not going for a song. Alternatively, you can find him honing his craftsmanship at National Custom Works, where

he brings a new level of meaning to the concept of “custom”.

Every NCW iron starts as a blank slab of metal before White and Jeff McCoy, a fellow master club-maker, get their hands on it. After taking into account each customer’s preferred look, sole shape and ball flight, they set about sculpting some of the most balanced, softest-feeling forged irons on the market today.

This level of personalisation is usually reserved for adept golfers with a keen aesthetic sense. The clubs are not inexpensive, and won’t arrive promptly – the lead time is between two and 10 months – but if you want the hands that built Jack Nicklaus’s irons to make yours, this is the only game in town.

NCW also fashions putters using 3D printing, with the one-off specimens handcrafted to the discerning shapes, sizes, specs, finishes and demands of White’s clients.

Unexpected? Yes. A beautiful collectible? Certainly, although NCW doesn’t provide any assurance that you’ll drain a knee-knocking six-footer on purchase. nationalcustomworks.com.

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THE INNOVATORS Goodwood Festival of Speed is celebrating the masterminds of motorsport – the pioneers who dare to think differently. Here, eight well-known names choose their favourite innovators, from the early days to an electrifying future Words by Ben Oliver

From its earliest days to its increasingly electric future, motorsport’s great innovators have been as important and exciting as its great drivers. They have upended conventional wisdom on how racing cars should be constructed or look, cleverly reinterpreted the rules to deliver a killer advantage, invented whole new types of motorsport and challenged existing notions of who motorsport is for.

This year the Goodwood Festival of Speed celebrates those who think differently, taking “The Innovators: Masterminds of Motorsport” as its central theme. Groundbreaking race cars from the past and present will take to the Hill, and the Future Lab and Electric Avenue exhibitions will showcase the innovations that are set to shape our automotive future on road and track.

To set the scene, we’ve asked some well-known names to nominate their favourite motorsport innovator and tell us a little about their choice. From a woman who rallied the very first car to the creator of a modern electric race series, these eight great innovators deserve recognition alongside Fangio and Moss, Schumacher and Hamilton.

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THE INNOVATORS

SUSIE WOLFF CHOOSES BERTHA BENZ The former Williams F1 development driver raced in Formula 3, Formula Renault and the German DTM touring car championship. She is now CEO of the Formula E team Venturi Racing

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“There have been many innovative, inspirational women in motorsport, but, after careful consideration, I’m going to go slightly left-field with my choice. Bertha Benz was the wife of Carl, the inventor of the car. Not only did she back him financially when few others would, but in 1888 she made the first long-distance car journey, without Carl’s knowledge and with her two young sons aboard, to prove the viability of his Patent-Motorwagen. She bought fuel from pharmacies along the way, pushed the car when it ran dry and repaired it herself by the roadside.

Bertha’s 120-mile epic from Mannheim to Pforzheim and back, on rutted roads used only by horses and carriages, was essentially the first rally, and it both hastened the adoption of motoring and heralded the beginnings of motorsport. ‘She was more daring than I,’ said Carl. A true pioneer.”

OPENING IMAGE: ALAMY. THIS SPREAD: BIBLIOTHÈQUE NATIONALE DE FRANCE, GETTY IMAGES, ALAMY

Left and previous spread: Bertha Benz, wife of Carl, who made the first long-distance car journey in her husband’s pioneering PatentMotorwagen. Below left and right: Swiss engineer Ernest Henry and one of his engine designs

“As we transition away from combustion engines, it’s right to remember the man whose ingenuity influenced so many of them”

THE DUKE OF RICHMOND CHOOSES ERNEST HENRY Charles Gordon-Lennox, 11th Duke of Richmond, is the owner of the Goodwood Estate, founder of the Goodwood Festival of Speed, Revival and Members’ Meeting, and president of the British Automobile Racing Club

“For me, the Swiss engineer Ernest Henry is one of the most innovative thinkers in the history of motorsport, but still somewhat unsung. He created the first engine to combine twin overhead camshafts with four valves per cylinder for Peugeot in 1912: a beautiful, sophisticated design that made existing engines look agricultural by comparison. It allowed for higher engine speeds, and thus greater power, and was more efficient and reliable. In a seven-year period it won the French Grand Prix, the Indy 500 and the Targa Florio, as well as setting land-speed records at Brooklands, and the ‘Henry system’ has been the basis of most road and race car engines ever since. Success came young for Henry – he was only 27 in 1912 – and he remained active in motorsport for only 12 years, with little known of his later life. But as we transition away from combustion engines – in our road cars, at least – it’s right to remember the man whose ingenuity influenced so many of them over more than a century.”

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THE INNOVATORS

MATE RIMAC CHOOSES ETTORE BUGATTI The 34-year-old Croatian entrepreneur and engineer founded his own electric hypercar manufacturer in 2009 and supplies highperformance electric drive tech to the big carmakers. Last year the VW Group handed him majority control of Bugatti

“Of course I choose Ettore Bugatti, but not purely because I’m privileged to run his company now. His Type 35 was one of the most successful racing cars in history, a marvel to look at and to drive, and his ‘Tank’ cars were among the first to experiment with aerodynamics in racing. He was obsessed with performance and technology, but also, coming from a family of artists, with aesthetics. You can see it in the whole car, and when you lift the bonnet, it is there in every detail. Racing is all about excitement, and Bugatti saw early on that if the cars are beautiful, it adds to that excitement.

But he was also prepared to compromise in order to make his cars faster: the first Tank isn’t beautiful at all, but it helped spark an obsession with aerodynamic performance that lasts to this day, a century later.”

“Racing is all about excitement, and Bugatti saw early on that if the cars are beautiful, it adds to that excitement”

Above: Ettore Bugatti.

Left: his distinctive 1923 Type 32 Tank de Tours

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PROFESSOR GORDON MURRAY CHOOSES VITTORIO JANO

GETTY IMAGES

Widely acknowledged as one of the greatest designers of road and race cars, Murray is the man behind the groundbreaking Brabham Formula 1 cars, the McLaren F1 road car and the T.33 and T.50 supercars from his latest venture, Gordon Murray Automotive

“I was an engine designer before I became a car designer, and I have always been fascinated with innovations in that field. For me, the two great innovators in early motor-racing engine design were Gioacchino Colombo and Vittorio Jano.

My choice, Jano, started working for Alfa Romeo in 1923. His first design was the eight-cylinder P2 racing car, followed by the sensational P3, which was not only highly successful, but also gave Enzo Ferrari his start in motor racing. After Alfa Romeo, Jano joined Lancia and designed the innovative V8-powered D50. Ferrari adopted the D50 and Jano moved to Ferrari as an engine designer. His first V12 won two sportscar championships in the Ferrari 290 MM. He later designed the Dino V6 engine, used in Ferrari’s first mid-engined road car, the Dino 206 GT. His work on early four-valve, twin-cam engines was truly innovative, and that D50 remains one of my favourite racing-car designs to this day.”

Left: Vittorio Jano (on the right) with British driver Mike Hawthorn in 1958.

Above: a Jano-designed Ferrari D50

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INNOVATORS

Above: Colin Chapman talks to Emerson Fittipaldi at the 1973 Swedish Grand Prix

KARUN CHANDHOK CHOOSES COLIN CHAPMAN The former F1, Formula E and FIA GT driver is now a member of the Sky Sports F1 live coverage team. He serves on the board of directors of Motorsport UK and the FIA Drivers’ Commission

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“If I think of innovators in motorsport, one name jumps out immediately – Colin Chapman, the design engineer and founder of Lotus Cars. While John Barnard did great work with the carbon monocoque, the Coopers took the bold step of sticking the engine behind the driver and Adrian Newey redefined the importance of aerodynamics, Chapman’s repeated brilliance across two decades is unparalleled, in my opinion. He pushed the envelope in terms of strength and safety and, while he didn’t always get things right, his Lotus 25 and 49 are two of the most important cars in motorsport history, setting the fundamental principles on which all F1 cars would be designed. His radical ground-effect cars of the late 1970s were unbeatable, and he led the way with commercial sponsorship deals in the late 1960s. His brilliance extended beyond F1, too: all the great stars wanted to race a Lotus Cortina on their weekends off.”

GETTY IMAGES, ALAMY

“Colin Chapman’s repeated brilliance is unparalleled. His Lotus 25 and 49 are two of the most important cars in motorsport history”

THE INNOVATORS

SEBASTIAN VETTEL CHOOSES ADRIAN NEWEY Now racing for Aston Martin in F1, Vettel won four successive World Drivers’ Championships with Red Bull from 2010 to 2013. He remains the youngest driver ever to win the title

“I worked with Adrian for a long time and witnessed his power to innovate first-hand. He has that rare ability to think of solutions that nobody else can and to interpret the rules in a way that nobody else can see – still within the law, but giving his cars a real advantage. He’s best known for his aero innovations, but he’s also a brilliant mechanical and race engineer. He often gets to his innovations by unconventional means.

They won’t always come to him at the drawing board. It’s more important for him to be in the right headspace. I don’t know how many world championships he has won over the years – we won four together. He has been around a long time, but he doesn’t seem to get tired, and his thinking doesn’t get stale. That combination of experience and the ability to find new solutions means he’s still a huge influence on our sport.”

NICO ROSBERG CHOOSES ALEJANDRO AGAG The 2016 F1 champion is the owner and CEO of Rosberg Xtreme Racing, a sustainability entrepreneur and investor in green technologies and mobility start-ups. He is also the founder of the Greentech Festival

“Alejandro founded Formula E in 2014 and has led it ever since, and in doing so has revolutionised motorsport in so many ways.

He is a very bold innovator. Most importantly, he dared to think fully electric when a lot of people in the industry weren’t willing to go down that path. Both Formula E and Extreme E are completely new racing series with a new format, a new narrative and new target groups.

They have helped to accelerate progress – not only in terms of technology, but in the other messages they send. Alejandro was the first to simply go ahead and set up a racing series with female and male drivers when many others were still just talking about ways to improve equality on track. He has shown us all that motorsport has the potential to change the world and make it a little better.”

Top right: F1 engineer Adrian Newey. Right: Alejandro Agag with the all-electric Spark-Renault SRT_01E

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THE INNOVATORS

CHRIS HARRIS CHOOSES GORDON MURRAY Before achieving wider fame as one of the three current BBC Top Gear presenters, Harris established his credentials as a motoring writer, road tester and racer of rare ability. He is a regular and very quick competitor at the Goodwood Revival and Members’ Meeting

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“Gordon Murray has always had that ability to make other designers scratch their heads and ask, ‘why didn’t I think of that?’ His early work at Brabham in the 1970s defined the way Formula 1 cars should look and perform, and his BT46 ‘fan car’ was simply one of the best motorsport ideas ever: a fantastic interpretation of the F1 regulations.

During Murray’s time at McLaren, the team won four consecutive World Championships, and he then designed what I think is the definitive supercar – the McLaren F1. I remember the excitement of the ultimate F1 brain being applied to road cars, with a design brief as pure as those of his racing cars. He’s doing it again now, refining that recipe with the T.50 from Gordon Murray Automotive. You can reverseengineer the question of who the great motorsport innovators are, and just ask how the world of F1 – and supercars – would look without Gordon Murray.

The answer is that it simply wouldn’t be anything like as exciting.”

Above: Formula 1 car designer Gordon Murray

GETTY IMAGES

“Gordon Murray’s BT46 ‘fan car’ was simply one of the best motorsport ideas ever: a fantastic interpretation of the F1 regulations”

Knowing she’s on the road to something amazing.

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Self-portrait of Lord Henry Gordon Lennox at Gordon Castle, sitting beside his tripod and Ottewill-pattern folding camera

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PAST MASTER

Lord Henry Gordon Lennox was an MP, a close friend of Disraeli and a keen early amateur photographer.

His portraits, shot during the 1850s, are the subject of Goodwood’s summer exhibition Words by James Peill and Philippe Garner

Lord Henry Gordon Lennox was the fourth of the 11 children of the 5th Duke and Duchess of Richmond. Born at Goodwood on November 2, 1821, he was educated at The Prebendal School in Chichester, followed by Christ Church, Oxford. In 1846 he entered the House of Commons as Member of Parliament for Chichester, replacing his uncle, Lord Arthur Lennox. Because Chichester was represented by two MPs, Lord Henry sat alongside another member until the reforms of 1868, when he became the sole member and served until 1885.

As well as being a well-known politician, Lord Henry was regarded as a man of fashion, and as a result not taken very seriously. He was described by the magazine Vanity Fair as “favoured by Nature with a graceful figure and presence, and a feminine gentleness of manner, known for amiability of intercourse, and suspected of literary ability”. In the cutthroat world of politics, he sailed a gentle course, never attaining great heights, but quietly getting on with his work.

As Vanity Fair said, “whenever he has found an opportunity of doing statesman’s work in the public eye, he has acquitted himself well and honourably”.

In 1851 he struck up a friendship with Benjamin Disraeli, the future prime minister, who was 17 years his senior. They quickly became intimate, and their correspondence reveals great mutual affection, verging on infatuation on Disraeli’s part, while Lord Henry’s younger brother, Alexander, was disgusted by Henry’s engouement for Disraeli. The friendship lasted for many years, with both meeting needs in the other: Lord Henry provided information about what was happening in the social, political and diplomatic world; Disraeli offered help and advice in his friend’s constantly thwarted matrimonial projects. However it may look to modern-day eyes, their relationship was almost certainly platonic. It was not until much later in his life, when he was 61, that Lord Henry finally married Amelia (née Smith), widow of John White of Ardarroch.

It was in the still-young field of photography that Lord Henry truly found an outlet for his artistic talents (he was also a talented watercolourist), following the publication of the first viable photographic processes in 1839 by William Henry Fox Talbot in England and Louis-Jacques-Mandé Daguerre in France. Lord Henry’s photographs show a rare

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HENRY GORDON LENNOX

A carefully composed group photograph taken in 1856 at Gordon Castle, with the sitters all looking in different directions. Notice how the back of the bench has been aligned with the stone balustrade in the background. Left to right: Lord Henry’s sister Augusta (married to Prince Edward of Saxe-Weimar); the 7th Duke of Manchester; Colonel the Hon James Macdonald; Prince Edward of Saxe-Weimar; and the Duchess of Manchester (known as the ‘Double Duchess’ following her later marriage to the 8th Duke of Devonshire after Manchester had died)

glimpse of aristocratic life with a strong sense of informality.

It was the discovery of two fascinating albums containing his photographs that provided the basis of the summer exhibition this year at Goodwood House. One album bears his mother’s initials on the cover; the other probably belonged to him.

Both descended in the family of his sister, Cecilia, and were acquired for the Goodwood Collection in 2019.

By the time Lord Henry started making photographs in the 1850s, the medium, though still a scientific, social, and cultural novelty, was becoming more established.

The practice of photography was moving beyond the first generation of dedicated experimenters and of professional portrait studios, and was being pursued by a growing network of committed amateurs.

To take up photography, however, was a considerable challenge that demanded resources of time and money, and a not inconsiderable degree of scientific acumen and practical skill. There were no standardised “off-the-shelf” materials.

Photographers had to mix their own chemicals following published formulae, then hand-coat their negatives, increasingly through the 1850s by pouring light-sensitive wet collodion onto glass, working in a dark space. The wood and brass camera would be positioned on a sturdy tripod, with the negative in its protective holder loaded into the back of the camera in anticipation of a long exposure. This would demand absolute stillness from patient portrait subjects, with the parameters of a good exposure determined by trial and error. In short, photography was a practically demanding but potentially rewarding pursuit enjoyed almost exclusively by a privileged, leisured class.

A small number of prints in the two albums are credited to “gentleman amateurs” other than Lord Henry. Of particular interest is the presence of work by the Welsh pioneer John Dillwyn Llewelyn, who was related by marriage to the

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inventor of the negative-positive process, William Henry Fox Talbot. We are reminded of the interconnectedness of photography’s early practitioners within their still relatively small community.

The two albums from the 1850s, largely filled with prints of images by Lord Henry, conform in many respects to the rapidly adopted conventions of constructing a photographic record of family members, their houses and their close circle.

Such albums became ever more popular in the 1860s and beyond, as the commercialisation of topographical and other imagery, as well as studio portraiture, made it possible to purchase studies of places near and far, images of artworks and portraits of eminent figures, adding a further range of subject matter to these compilations.

The present albums, however, stand out for the individual character of the images. We can appreciate the eye and flair of Lord Henry in numerous compositions that explore the possibilities of individual and group portraiture. These include unusual self-portraits, evidently requiring the help of a collaborator who would have made the exposure. His tight-cropped self-portrait is most uncommon at a time when portraiture was generally at least half-figure and tended to a formality and stiffness imposed by the necessarily long exposure times. Lord Henry was deliberate in adopting elegant, seemingly relaxed poses, just as he showed himself an able constructor of group shots in which he conveyed a sense of engagement between the figures. His skills went beyond the purely technical, and his thoughtfully composed and executed images constitute a telling reflection of his aesthetic sensibility and of his personality.

Lord Henry Gordon Lennox, An Aristocratic Amateur can be seen during the Goodwood House Open Days from Monday, July 11, until Monday, October 31; for more details, visit goodwood.com/visit-eat-stay/goodwood-house/exhibitions.

Right: two young girls playing with a toy cart in the garden at Gordon Castle, which can be seen in the background. They are probably Lord Henry’s nieces, Florence and Caroline Below: a formal portrait of two of Lord Henry’s sisters, Caroline (Lady Bessborough) and Cecilia (Lady Bingham), in a border of ferns

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HENRY GORDON LENNOX

Above: an unusual photograph of two unidentified gentlemen at Gordon Castle, one of whom is just a shadow in the background.

Lord Henry has used the gothic arches of the arbour to frame both men and given interest to the foreground, with the flowerbed visible. The standing gentleman has planted his leg on a rustic chair in a commanding stance. The chair is in the cottage orné style, found in architecture elsewhere on the Gordon Castle estate Right: an artistically arranged group of servants in the courtyard at Gordon Castle, possibly stalkers and gamekeepers. Two dead deer have been arranged on some heather, and the standing man holds a gun in one hand and a dead bird in the other

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

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GOOD GOLLY

Words by Hannah Betts

One of the world’s most exciting young fashion designers, Molly Goddard became a household name when she dressed Killing Eve’s Villanelle in Calpol-pink taffeta. Now her festive, fabulous creations have earned her the Goodwood Talent in Fashion Award

MISS MOLLY 53

GOOD GOLLY MISS MOLLY

Goodwood has long been associated with fashion, festivity and having the most fabulous time – with the requisite modish insouciance – meaning this year’s winner of the Goodwood Talent in Fashion Award could not be a more perfect fit.

Molly Goddard, 33, has found global renown as one of the fashion world’s most thrilling and influential young designers. Her eponymous label has not only been showered with prizes, it has changed the way we dress, heralding a shift towards maximalism, volume and meticulously constructed creations-as-confections.

Her fascination with artisanal processes such as shirring and smocking is matched by a radical approach to proportion that can mean 40-metre hems of the sort more usually associated with the V&A (to which she recently donated a frock for its permanent collection). One of her dresses might consume a dizzying 90 metres of material.

Goddard’s is a “go large or go home” ethos of Crayolacoloured frills, flounces and tiers of her trademark tulle.

Her dresses are very much gowns – fantastical pieces for everyday exuberance, and spot-on for a post-pandemic party atmosphere in which life is the party, with sequins donned by day.

Goddard girls are dressed up without being trussed up, or, as the designer puts it, “straightforward, uninhibited and comfortably overdressed” enthusiasts for show-stopping drama sported with nonchalant cool. Fans include Rihanna, model-turned-actress Agyness Deyn, model muses Edie Campbell and Adwoa Aboah, and actresses Rosamund Pike and Jodie Comer. Comer has proved herself a Goddard groupie on and off the set of Killing Eve, in which her exquisitely dressed assassin, Villanelle, strode about Place Vendôme in Balenciaga biker boots amid a Calpol-pink Goddardian cloud.

Goddard grew up in west London, a clothes-obsessed tomboy. Her art-teacher mother took her daughters to Portobello market – “the most incredible resource” – and Vintage at Goodwood, where she enjoyed both the style and the carousing. Like her heroes, John Galliano and Alexander McQueen, Goddard was determined to study under the Central Saint Martins professor Louise Wilson, who secured her an undergraduate internship at Galliano.

Unhappy in her MA course, in 2014 she hosted a party to showcase her work and thus acquire a job. Instead she acquired orders, and her brand was born. Today her collections are sold by the world’s most prestigious stockists, including Browns, Dover Street Market, Trading Museum Comme des Garçons, Matches and Net-a-Porter. Like Goodwood, Goddard Inc is a family affair: her mother makes her sets, her sister, Alice, collaborates as the brand’s stylist and her managing director is a former primary-school ally. The company has turned a profit from day one, with no outside investment or grants.

The Goodwood award calls for three gowns, inspired by its heritage, “to create some drama and ideally be showstopping”. Not that our heroine will require any persuasion on this front. Goddard and I speak early in her design process, and already she has been hitting not only the library, but the house. “I’m finding the history really exciting – the flamboyance and the eccentricity, the tapestries and the paintings. I’m endlessly pulling out imagery. I want to know not only about Goodwood’s female icons, but what the men wore and what their servants were dressed in.” Her outfits

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Goddard’s is a "go large or go home" ethos of Crayolacoloured frills, flounces and tiers of her trademark tulle

ROKSANDA

Above left: Molly Goddard. Left: a portrait of Louise de Kérouaille, mistress of Charles II, from the Goodwood Estate provided inspiration. Right and above: Goddard at her studio with some of her maximalist creations

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ROKSANDA

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GOOD GOLLY MISS MOLLY

BBC

“Dressed up doesn't mean skintight costumes and the highest heels. Women need comfort to feel confident”

Above: Jodie Comer as the Killing Eve assassin Villanelle, in a pink Goddard gown that soon became iconic. The designer's creations cleverly combine exuberant excess with extreme practicality

will join the house’s archive, meaning there is the allure of “making future history – a sort of time capsule”.

We discuss the estate’s portrait of Louise de Kérouaille – Duchess of Portsmouth, mistress of Charles II and mother of the 1st Duke of Richmond – whose plush scarlet robe Goddard deems “seriously sexy”. Tales of Edward VII, a man who took a keen interest in what should and shouldn’t be worn at the racing track, have also intrigued her. “I’ll draw and re-draw the designs hundreds of times with my pattern cutters. Then we’ll make a toile so that we can play about with fabrics and construction.”

As ever, we can expect barely contained excess, combined with Goddard’s signature practicality. These will be gowns that can be crammed into washing machines. “Fashion can be special and for busy, working women,” she says. “Dressed up doesn’t mean having to be laced into skintight costumes, or staggering about in the highest heels. That really is the least attractive look. Women need comfort to feel confident.”

Goddard is “definitely a feminist,” and was uneasy with some of the princessy terms initially deployed to describe her aesthetic – until Villanelle became her poster woman and the

world understood that this was feminine not as in fey, but as in subversively hyper-femme.

As Goddard notes: “It worked because they totally got what that dress was about.” Or, to quote The Guardian’s Jess Cartner-Morley: “Villanelle is to Goddard as Audrey Hepburn was to Hubert de Givenchy.” The dress took its starring role on the BBC in September 2018. A few weeks later it had become the Hallowe’en costume du jour. Its designer referenced it in fuchsia a year later, while by 2020 Primark had concocted a ghastly £15 parody that served only to emphasise the genius of the original. The Goddard name had gone global, meaning even those with no interest in fashion can immediately conjure up an image of her work.

Many of us will be anticipating a “thinking pink” element in Goddard’s Goodwood creations. “Interesting…” says our heroine, but she will not be drawn. Princesses may be out, but perhaps we can hope for a duchess – in taffeta and bovver boots, striding towards the winning post?

Molly Goddard’s collection for Goodwood, in association with the British Fashion Council, will be revealed at the Opening Ceremony of the Qatar Goodwood Festival, July 26.

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FUTUR CITIES 58

RE S

From houses printed by robotic arms to flying taxis, inflatable farms and giant hoovers that turn polluting particles into jewellery, FOS Future Lab offers innovative and ingenious solutions to humanity’s problems Words by Alex Moore

By 2050 the United Nations predicts that 68% of the world’s population will live in cities. That’s a difficult statistic to process, but the figure was 47% at the turn of this century and 30% in 1950. Which means our cities will need to behave very differently, very soon, if they’re to accommodate millions of new inhabitants. Will they spread out and become larger?

Or perhaps grow taller, or venture underground? How will we move around them? And how can we ensure that the cities of the future are not only sustainable, but regenerative?

It is believed that artificial intelligence (AI) will replace 85 million jobs worldwide by 2025, although designers such as Britain’s Thomas Heatherwick see this as a blessing.

“Humans shouldn’t be doing anything that machines could quite easily do,” he says. “Let us do what we do best, which is using our imagination and creating unexpected emotional insights – the last things that artificial intelligence will ever manage to duplicate.”

Imagination is exactly what is required to turn these utopian ideals into reality, and Heatherwick’s is one of the best. He recently dreamed up an autonomous electric car that cleans pollutants from other vehicles while doubling up as a multifunctional room with space for dining, working, gaming and even sleeping. The Airo, which is set to go into production next year, was designed with a modern, climateconscious city in mind. With Airo, Heatherwick says, “we were interested to find that edge of reality – because, ultimately, our duty is to keep trying to be inventors while pushing forward what’s possible”. Thankfully, he is not alone.

THE FUTURE OF CONSTRUCTION: 3D-PRINTED HOMES Over the next 30 years the global population is expected to increase by 25%, which means an additional two billion people will need housing. If that wasn’t worrying enough, there is already a labour shortage – in the US, for example, there are more than 400,000 unfilled positions in the

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construction industry – and Generation Z doesn’t seem to be bursting with aspiring hod carriers. Put simply, we need a new way of building houses, and quickly.

Anna Cheniuntai, co-founder of Apis Cor, a Florida-based construction 3D printing company that is exhibiting at Future Lab, thinks she has found the solution. Apis Cor has developed a mobile robotic arm called Frank, which can print houses using a geopolymer that is stronger and more fireresistant than concrete – a process nine times quicker than traditional construction methods. Frank has already built the world’s largest 3D-printed structure, a 640-square-metre administrative building in Dubai.

“The construction industry creates roughly a third of the world’s waste,” says Cheniuntai. “By calculating and printing out materials to exact dimensions, you can avoid so much waste. And the reduced need for human labour dramatically lowers the cost of building. We can disrupt the way we build houses – which, to be honest, hasn’t really changed for hundreds of years.”

Designers and architects around the world are recognising 3D printing as the quickest and most sustainable way to build new communities. The Swiss designer Yves Béhar worked with Icon, the team behind the Vulcan II 3D printing construction system, to visualise the world’s first 3D-printed village, an idea that has been picked up by the Danish Bjarke Ingels Group, which will start printing 100 houses on the outskirts of Austin, Texas, later this year.

Cheniuntai believes the sky’s the limit for 3D printing.

Apis Cor is investing in extraterrestrial infrastructure, in the hope of being the first company to build on the Moon and Mars. Yet she concedes that scaling up the technology presents a serious challenge. “Demand is huge, so we need to produce printers faster. For now, our main priority is Earth.”

POLLUTION SOLUTIONS: HOW TO HARVEST SMOG The World Health Organization claims 4.2 million people die every year as a result of exposure to outdoor air pollution.

Almost a quarter of those deaths happen in India – home to 10 of the world’s 15 most polluted cities – where diesel generators are the biggest culprits. Still, as the American architect, engineer and futurist Richard Buckminster Fuller famously quipped: “Pollution is nothing but the resources we are not harvesting. We allow them to disperse because we’ve been ignorant of their value.” Thankfully, albeit slowly, designers around the world are beginning to make the most of diesel’s deadly byproducts.

In India, Chakr Innovations, a company founded by graduates from the Indian Institute of Technology Delhi, has developed the world’s first retro-fit emission control device for diesel generators. The Chakr Shield can capture more than 90% of emissions without causing any adverse effects to the generator. The company then turns the captured pollution into ink and paint – it says each litre of ink purifies 700 million litres of air.

Over in Boston, students at MIT have had a similar idea.

The Graviky Labs collective is turning carbon emissions sequestered from factory chimneys and car exhausts into jet fuel, ethanol and plastic. It also makes Air-Ink, which is now used by leading artists and global brands to reduce their carbon footprint. It takes just 45 minutes’ worth of

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vehicle emissions to make one fluid ounce of ink – enough to fill a pen.

“I believe the climate crisis is the result of bad design or unconscious design,” says Dutch artist and inventor Daan Roosegaarde, who is exhibiting at Future Lab. “The only thing we can really do is engineer our way out of it.”

Perturbed by the low air quality in Beijing (he claims it is equivalent to smoking 17 cigarettes a day), Roosegaarde created the world’s largest vacuum cleaner – the Smog Free Tower, which sucks pollution from the sky and cleans it on a nano level with patented positive ionisation technology.

The tower removes 70% of deadly PM10 particles from the air, using a nominal amount of solar power – and, with Buckminster Fuller’s mantra in mind, Roosegaarde then compresses the extracted pollution and makes museumworthy jewellery with it. If you managed to buy one of his Smog Free Rings, you’ll have donated 1,000 cubic metres of clean air, and the proceeds went towards building new towers in smog-filled cities.

THE LAST MILE: THE MISSING PIECE OF THE DELIVERY PUZZLE The “last mile” was a thorn in the side of delivery services long before Amazon and Ocado became household names.

The fiddly final stretch of any parcel’s journey is expensive, inefficient and harmful to the environment – and with many inner-city neighbourhoods becoming pedestrianised or ultralow-emission zones, it is increasingly difficult to navigate.

In recent years dozens of companies have tried to decarbonise the last mile. One such is EAV (Electric Assisted Vehicles, which is exhibiting at Future Lab), a Bicester-based business that makes lightweight, sustainable, modular transport for any service that must negotiate those final few turns. So far this includes delivery companies such as DPD (with which EAV worked on the early iterations of its eCargo bike), waste and facilities management, and local tradespeople.

EAV’s range of fully electric vehicles bridges the gap between bike and van, allowing users to transport substantial loads more nimbly than ever before. Crucially, the cargo beds can be quickly and easily reconfigured – or even swapped between vehicles – for unprecedented versatility and productivity.

“We’re trying to imagine this sort of utopia where goods are brought to the outskirts of cities, then decanted into lightweight vehicles that are benign and not aggressive or unpleasant, but just quietly buzz around the city, making their deliveries or picking up the rubbish,” says Nigel Gordon-Stewart, executive chairman of EAV. The company is developing a range of “mid-mile” electric vehicles that will shuttle between depots on the outskirts of urban areas and vehicles working the last mile.

If this ant-colony vision of the future still feels a long way off, consider this: since 2018 autonomous robots have been delivering groceries in Milton Keynes, sending a text message to let customers know when they are outside the front door.

The robots were built by Starship, a local delivery service created by Estonian tech entrepreneur Ahti Heinla, who was a founding engineer at Skype. Resembling freezer boxes on wheels, they stick to pavements and can only be unlocked by the recipient via a smartphone app.

Clockwise from left: the world’s largest 3D-printed structure, a 640-square-metre administrative building in Dubai; Apis Cor’s robotic mobile printing arm in action; one of EAV’s lightweight electric delivery vehicles; and Daan Roosegaarde’s Smog Free Ring

BACKGROUND IMAGE: GETTY IMAGES. TOP: ALAMY

“We can disrupt the way we build houses – which, to be honest, hasn’t really changed for hundreds of years”

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“If you look at the kind of robots that are being built around the world, you see a lot that have no commercial value or very little impact on our everyday lives,” says Heinla. “And so we wanted to create a robot for everyone. How? By making local delivery faster, cleaner, smarter and more cost-efficient.”

THE THIRD REVOLUTION OF FLIGHT: FLYING TAXIS ARE ON THE HORIZON We are fast approaching the age of urban air mobility – the third revolution in flight. The Wright brothers’ rudimentary biplane heralded the first, the jet engine ushered in the second, and the third will make flight an electric endeavour, and an everyday one at that.

Front and centre of this revolution are eVTOL (electric vertical takeoff and landing) aircraft. Part plane, part helicopter, and much cheaper, quieter and greener than either, they are designed for short journeys in areas where transport is slow-moving. Which is why they will be mainly used as flying taxis, not in 10 or 20 years’ time, but in two or three.

“It’s 100% not sci-fi any more,” says Andrew Macmillan, director of infrastructure at Vertical Aerospace (exhibiting at Future Lab), a Bristol-based company that’s at the forefront of the eVTOL industry. “There are around 200 vehicle manufacturers out there making these air taxis. We have 1,350 pre-orders [of the brand’s VX4 aircraft] with the likes

of American Airlines, Virgin Atlantic, Japan Airlines and Gol in Brazil.”

So the air taxis are almost ready to go, but from where, and where to? Macmillan uses Heathrow to Canary Wharf as an example; the journey can take an hour and a half by car, but an eVTOL aircraft would cut this down to 13 minutes.

There’s just one catch: the vast amount of infrastructure required to make this a practical mode of transport. Which is where companies such as Skyports come in. “For the eVTOL industry to be successful, we’re going to need lots and lots of vertiports [similar to heliports, but with electric charging capabilities], preferably in the densest part of the city, where space is constrained,” says the company’s founder, Duncan Walker. “The vision is that people can jump in one of these things as part of our normal transportation solutions. The goal is to make them no more expensive than an UberX – and if we can achieve that, then it will be possible to operate at a scale that is still difficult to imagine.”

For some, perhaps, but several big cities are already gearing up for the era of urban air mobility – including Singapore, Dallas, LA, Miami and Melbourne. The speed and extent to which eVTOL operations are scaled up will depend on the cities’ procedures for consulting with stakeholders, and whether or not the concept takes off in the community as a whole. Still, investment banking company Morgan Stanley predicts the industry will be worth $9 trillion by 2050 – and that, it adds, is a conservative estimate.

“Several big cities are already gearing up for the era of urban air mobility – including Singapore, Dallas, LA, Miami and Melbourne”

Vertical Aerospace’s flying taxis could be airborne within three years, using a network of “vertiports” with electric charging capability

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FUTURE CITIES

Inflatable, climate-controlled aeroponic BioPods can cultivate more than 300 species of plant – even in space

“We’re making it possible to grow strawberries in the desert... we hope to create pods the size of football stadiums” URBAN FARMING: FROM THE METROPOLIS TO THE MOON Food miles are a contentious issue. There’s no denying the environmental impact of putting non-local delicacies on our plates. The Department for Environment, Food and Rural Affairs estimates that the transport of food is responsible for 25% of all miles covered by heavy goods traffic in the UK – about 19 million tonnes of CO2 annually, equivalent to 5.5 million typical cars. Yet if we stopped importing food altogether, we would remove incomes from communities all over the world. In sub-Saharan Africa alone, about 1.5 million people depend on exporting food to Britain, and ending this trade relationship would reduce the UK’s total greenhouse gas emissions by less than 0.1%.

Urban farming has been chuntering along since 3,550BC, long before food miles were an issue. Increasingly, however, scientists and architects are looking for innovative ways to grow fresh fruit and vegetables within the city limits, and at scale. One of the most ambitious companies doing this is Interstellar Lab (exhibiting at Future Lab), which has designed an inflatable, climate-controlled aeroponic BioPod that can autonomously cultivate more than 300 species of plant anywhere – even in space.

Barbara Belvisi, the company’s founder and CEO, spent a year working at Nasa’s Ames Research Centre before coming up with a design that has since won the Nasa Deep Space Food Challenge. One day the pods could support life on the Moon, but for now they have three main applications. “First, they can be used by cosmetic and pharmaceutical brands to grow specific plants,” says the French entrepreneur. “Instead of shipping in vanilla from Madagascar, it will allow them to localise production and optimise the yield [by up to 300 times].” The second use is food production in arid places such as Texas and the Middle East. “We’re making it possible to grow strawberries in the desert. The first iteration of the BioPod is a similar size to a greenhouse, but within a few years we hope to create pods the size of football stadiums.” The third is research and conservation: “By re-creating a specific climate, we can protect endangered species, examining how boosting CO2 levels can accelerate photosynthesis, for example.”

And the best bit about it? “Everything is integrated,” grins Belvisi. “You don’t need foundations or a water treatment system, so they’ll work perfectly on city rooftops, giving a whole different perspective to the farm-to-table debate.”

Future Lab will be held at the Goodwood Festival of Speed, June 23-26.

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HENRY POOLE

KING OF THE ROW From Edward VII to Daniel Craig and the riders in the Charlton Hunt revival at Goodwood, Henry Poole & Co has been the outfitter of choice for 200 years. Its managing director, Simon Cundey, explains the timeless appeal of classic tailoring Words by Josh Sims

Left: Simon Cundey at Henry Poole & Co’s shop on Savile Row, which has seen monarchs, film stars and politicians come through its doors

Photography by Jonathan James Wilson

“It’s amazing how far the tentacles of Henry Poole & Co have reached out, and what an eclectic mix of clients we’ve had – some very aware of their dress, others in more need of help,” says Simon Cundey, managing director of what is arguably the founding tailor of Savile Row, and the seventh generation of the same family to run it.

The company has certainly come a long way since its creation in 1806. It was founded by James Poole, a Shropshireborn lad who went to London to work as a linen draper.

Always quick to spot an opportunity, he established himself as a military tailor, outfitting officers during the Napoleonic Wars – even if it was his son, the more hobnobbing and dandyish Henry, who got to put his name on the tin.

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According to Cundey, it’s precisely this talent for transitioning between the generations that has allowed the company to survive for more than 200 years, while many other tailors have come and gone. “Somehow we’re able to transmit the heritage and the culture from generation to generation, and I think that long history appeals to customers too,” he says. “There’s a reassurance in it, a sense of feeling at home at Poole.” Visitors were once regaled with clubby cognac and cigars, but these have given way to more sedate cappuccinos. “These are different times,” Cundey observes with a hint of regret.

Perhaps the visitors have changed too. Senior members of the armed services became customers after the Battle of Waterloo. Politicians, bankers and business leaders followed for their work, sporting and equestrian attire. The austere Charles Dickens bought his suits at Henry Poole, but so did the showman “Buffalo Bill” Cody. And when Edward VII became a customer, many heads of state – and 48 royal warrants – followed, Emperor Hirohito of Japan among them.

Hollywood has called too, from Irving Berlin and Rex Harrison to the director John Hughes – who favoured Poole’s

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tweed jackets when messing about with his tractor collection – and, more recently, Daniel Craig and Jason Momoa. From General de Gaulle to Serge Diaghilev, the list of luminaries who have worn Poole is endless.

Many clients spent jaw-dropping sums too – Naser AlDin Shah Qajar of Persia burnt through the equivalent of £885,000 in today’s money. But their relationships with the tailor often lasted a lifetime. Cundey’s grandfather recalled the contrasting challenges of fitting a skinny 36-year-old Winston Churchill, whose disproportionately large head meant his suits had to be beefed up to provide balance, then, decades later, the elder statesman, who required slimmer suiting to disguise his disproportionately large frame. No wonder the costume designer for the Churchill biopic Darkest Hour called on Poole when she wanted authentic tailoring for the film’s star, Gary Oldman.

A shared appreciation for history inspired Goodwood to turn to Poole to provide hunt coats and livery uniforms for a revival in 2016 of the Charlton Hunt, the earliest known fox hunt and by far the most fashionable in its heyday – the 1st Duke of Richmond enjoyed it so much that he

HENRY POOLE

Above: the Prince of Wales (later Edward VII) was one of the tailor’s many royal clients. Facing page: Poole provided coats and livery uniforms for the revival of the Charlton Hunt in 2016

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Left: Poole’s tailors stick to time-honoured techniques, but the outfitter keeps a keen eye on the latest trends. These days suits are available in super-lightweight fabrics, with a softer construction

Right: the house is credited with inventing the tuxedo in 1865, when the Prince of Wales asked it to create an evening coat in the deepest blue for informal dinners. Poole recently crafted a “tuxedo” fabric for a pair of Adidas trainers

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decided to buy Goodwood House in 1697. Riders were once again decked in its unusual signature colours of “garter” blue and ochre.

“These must have been quite striking colours for the day, a strong look to see come galloping over a hill,” says Cundey.

“We wanted to get the reproduction precise, right down to period clothes, which meant meeting the deadline was a close call. But we made clothes for Madame Tussaud’s waxworks.

So let’s just say we’re comfortable with period detail.”

A distinguished past doesn’t mean that even as established a name as Henry Poole can afford not to tread the prickly path of fashion. Cundey speaks of the spirit of moderation: if the 1960s saw barely-there 2in-wide lapels, Poole would give its customers something marginally wider; if the 1970s saw outsized 5½in lapels, Poole’s would have been marginally narrower. “You can’t ever ignore fashion,” Cundey says, “but nor can you be beholden to it when a client intends to get years of wear out of their clothing.”

Poole’s influence, indeed, has echoed over decades, even centuries. Many bespoke tailors have famous clients. More impressive is when a bespoke tailor has an international impact. When Poole outfitted the Japanese ambassador in western style in 1871, this form of dress became known as “sabiro”, after Savile Row, back in Japan.

The house is also credited with inventing the tuxedo, or dinner jacket, in 1865, when the Prince of Wales – later Edward VII, who would go on to relax the men’s dress code at Glorious Goodwood – asked Henry Poole to fashion an evening coat in the deepest blue for informal dinners. The innovation continues, and 150 years later Henry Poole crafted a midnight-blue “tuxedo” fabric for a pair of Adidas trainers.

“That was a landmark piece for us, and men still come to us today just for a dinner suit,” Cundey notes. “I would have loved to have been a fly on the wall at the appointments with Edward, to see his inventiveness with clothing in action. It’s the characters who have a vision of what they want who are often the most interesting to work with.”

Businesses require vision too. Cundey’s ancestor Samuel Cundey, a cousin of Henry Poole, took over in the 1870s, and the tailoring house soon began to expand abroad, opening branches in Vienna, Berlin and Paris – it was the largest

“Visitors were once regaled with clubby cognac and cigars, but these have given way to more sedate cappuccinos”

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Videst, serfero deni id ex eos autae cus, contar nonsequae rem renihit quiae ilicimusda nobo sinimetum quid quaerfe ribus. Liquid ut utugam.

Videst, serfero deni id ex eos autae cus, contar nonsequae rem renihit quiae ilicimusda nobo sinimetum quid quaerfe ribus. Liquid ut utugam.

“A bespoke suit is like a second skin. You need to go through the process to understand the difference” 72

Above: Keith Levett, director at Henry Poole

HENRY POOLE

(1) Napoléon III with his wife, Eugénie

(1)

(2) Charles Dickens (3) Winston Churchill (4) Crown Prince Akihito with Elizabeth II in 1953 (5) Charles de Gaulle

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GETTY IMAGES

(3)

bespoke tailoring business in the world by 1900. Ahead of the curve again, Poole pushed into the then exotic retail territory of China and Japan in the 1960s and 1970s. But by then the company already had a long backstory of frontier retailing.

“There was always a readiness to seek out the ‘dressing up’ wealth of the next nation coming through,” Cundey explains.

“That’s what brought on the big steamboat trips – we’d send cutters to the US for a month at a time, travelling the great railway lines that took people across America in those days.

It was quite an adventure, but they’d come back with a full order book.”

Are order books quite so full today, given the postpandemic advent of remote working and the oft-discussed “death of the suit”? Inevitably, a business as long-standing as Henry Poole has seen it all before, which is why Cundey describes the current sartorial climate as a “fashion correction, akin to a financial correction”.

Perhaps the tenor of tailoring is changing. “A change of attitude will see the suit considered less just something for work and more a special garment again,” he argues. The company now uses super-lightweight fabrics and a softer construction, while there is a growing awareness among clients that the whole point of bespoke is that anything can be ordered and made. It’s a reminder, as those high-rolling patrons of previous centuries appreciated, that one’s tailor “need not be just for suits, but can provide your entire wardrobe”.

“Besides,” Cundey adds, “there always remains a distinction to be drawn. Nobody wants to be uncomfortable in their clothing, as one might be in an off-the-peg suit. But a bespoke suit is like a second skin. You need to go through the process to understand the difference. The most special aspect of this work is in seeing someone try on their first bespoke garment. There’s pride in seeing someone have that experience and gain that education. That’s special to me, and has been to my family down through the years.”

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P V N O C E H T

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D E T R E

Hardtop convertibles are a remarkable feat of engineering, but their enduring appeal can be summed up in three words – sun, speed and sex.

Stephen Bayley picks his favourites

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CONVERTIBLES

1948 VOLKSWAGEN HITLER USED A CONVERTIBLE VERSION OF DR PORSCHE’S 1936 KRAFT-DURCHFREUDE-WAGEN (“STRENGTH THROUGH JOY CAR”) IN NAZI MILITARY PARADES. IT WAS KARMANN, A COACHBUILDER IN OSNABRÜCK, THAT BEGAN MANUFACTURING A CIVILIAN VERSION IN 1948.

To make a convertible, you need a hacksaw, leathertex, complicated folding mechanisms and Dzus fasteners.

To use a convertible, you need an appetite for fresh air and the happy conviction that driving is not a soul-destroying chore, but a life-enhancing treat for the senses. You also need a hat. Either that or an insouciant attitude to hair management.

From the beginning in 1886, cars were open to the elements. Soon, hoods appeared on horseless carriages to manage the weather. But a convertible is something different. The lovely red Alfa Romeo Dustin Hoffmann drove across the Bay Bridge in The Graduate was not a convertible: most two-seater sports cars originally came with soft tops.

A convertible is a conventional car that has been converted. It’s almost a metaphysical proposition. It’s an indoor parlour altered to an outdoor playground. There

Instead, convertibles are about pleasure. And the performance factor is not dynamic but theatrical – sun, speed and sex. Yet, despite that compelling proposition, convertible sales were declining even before US safety legislation of 1971 required cars to pass a rollover text. Convertibles were bound to fail. The underlying reason for this decline in popularity? The new availability of factoryfitted air-con.

But in the 1990s there was a new demand, as manufacturers rediscovered the ingenious folding hardtop, conceived by Ben P. Ellerbeck in 1919. The 1996 Mercedes SLK was the best application of the Ellerbeck principles: passers-by would fall off the pavement as they boggled at the subtle mechanical ballet of whirring this and folding that.

The cult of the convertible was a glorious demonstration of

is no functional rationale: convertibles are expensive to manufacture and very heavy, because the roof of a conventional car has a stiffening function. Take it away and the vehicle falls apart, so extra structure is required.

the perversity of human desire. Avid for vitamin D, the British have always been the biggest market. But there are no great Italian convertibles because, in Portofino or Rome, the smart people do not go out in the midday sun.

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CONVERTIBLES

1948 VOLKSWAGEN, left “Hitler used a convertible version of Dr Porsche’s 1936 Kraft-durch-Freude-Wagen (‘Strength through joy car’) in Nazi military parades. Karmann, a coachbuilder in Osnabrück, began manufacturing a civilian version in 1948”

1956 FORD FAIRLINE SKYLINER, right “The first popular folding hardtop required 610ft of electrical cable, 10 power relays, 10 limit switches, four lock motors, three drive motors and eight circuit-breakers. The result was a car almost twice as heavy and twice as expensive as the original”

OPENING IMAGE AND CURRENT SPREAD: GETTY IMAGES

1959 CADILLAC ELDORADO, left and opening spread “The ultimate Detroit kitsch. This was the car Aretha Franklin enjoyed in Freeway of Love. The lyrics go: ‘So drop the top baby/And let’s cruise into/”It’s better than ever” street.’ More than 100 pink Cadillac convertibles attended the singer’s funeral in 2018”

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1961 LINCOLN CONTINENTAL, right “America’s most glamorous car was designed

by Elwood Engel. A convertible with four ‘kissing doors’ (the backward ones being rear-hinged) is unique. The fabric hood disappears beneath the vast boot lid, emphasising the Continental’s exceptionally clean lines. This was the car in which JFK was assassinated”

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ALAMY

CONVERTIBLES

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CONVERTIBLES

1996 ROLLS-ROYCE CORNICHE, below “Nominative determinism means this Rolls-Royce feels most at home on the Riviera. An added advantage of this magnificent absurdity is that liveried flunkies at the Hôtel du Cap will rush from their stupor to park it for you”

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GETTY IMAGES

CONVERTIBLES

1960 CITROËN DÉCAPOTABLE, above “The ineffable Citroën DS of 1955 was an astonishing aesthetic and technical achievement. Coachbuilder Henri Chapron created an exclusive convertible version in 1960: its name means almost ‘beheaded’”

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FROM RUNWAY TO RACETRACK 82

Fashion journalist Kim Parker is one of the gutsy band of amateur female riders in this year’s Magnolia Cup at Goodwood.

Here she describes the physical and mental challenges of her journey to jockeydom

Above: the intrepid women taking part in this year’s Magnolia Cup, including fashion journalist and amateur rider Kim Parker (seated on bench, right)

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MAGNOLIA CUP

Right: Kim Parker is a keen amateur rider, but training for the event has tested her fitness and endurance to the limit

“I’ve adored horses since the age of six, when I had my first lesson astride a grumpy Icelandic pony called Parsley at the Pokfulam riding school in Hong Kong”

Up until a few months ago, I considered myself a fairly fit equestrian. After all, I hacked out several times a week in Hyde Park, and was certainly no stranger to the running machine at my local gym. But as soon as I was selected to ride in this year’s Magnolia Cup, I set out on a journey that has opened my eyes to the incredible strength and athleticism required to become a jockey – even if only for a day.

Going freelance for the first time in my career in 2021, in a job as a fashion journalist that involves hours sat at a laptop every day, left me craving the kind of physical challenge that would boost my health and bolster my self-confidence.

Where many might sign up to do a marathon or take up coldwater swimming, my potential midlife crisis could ever only be assuaged on horseback.

I’ve adored horses since the age of six, when I had my first lesson astride a grumpy Icelandic pony called Parsley at the Pokfulam riding school in Hong Kong – though my parents would attest that my obsession began much earlier, even though we lived in a bustling metropolis where the sight of horses was a rare and magical occurrence. As soon as I was tall enough, I graduated to riding ex-racehorses that had been retrained for jumping and dressage, imbuing me with a lifelong respect (and no small amount of fear) for their speed and agility.

In the years since I’ve been lucky enough to travel the world to ride – across the Sonoran Desert in Arizona and the grassy Mongolian steppe, on the beaches of Morocco and through the rainforests near Cairns, Australia. And I

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have been welcomed into an amazing community of fellow equestrians, whose support, friendship and humour have seen me through heartbreaks, work stress and plenty of horse-related injuries.

So being accepted as a rider in the Markel Magnolia Cup – an annual charity race that sees 12 brave women from different backgrounds, with varying degrees of equestrian experience, training to become amateur jockeys and race at Glorious Goodwood on Ladies’ Day – seemed a dream come true. Better still, this year’s event is raising money for The Brilliant Breakfast, an initiative started by my colleague, the jeweller (and Sussex local) Annoushka Ducas, that helps disadvantaged girls and women aged between 11 and 30 to access education and employment. How could I possibly say no?

My training began early. To qualify as an amateur jockey, and to ensure everyone’s safety on race day, each Magnolia Cup entrant must pass the notoriously gruelling British Horseracing Authority assessment, designed to test a rider’s fitness and endurance skills to the limit. We’re talking four-minute planks, weighted wall squats and 90-second push-ups, and that’s before anyone has tacked up a horse.

So I contacted Rhian Stephenson, a nutritionist, trainer, and founder of the Artah wellness brand, for help. She put together a targeted regime of weights, resistance training and stationary bike exercises to build up muscles strong enough for me to “push” a horse along a 51/2-furlong track and to withstand the deep lactic-acid burn that inevitably

TWO RIDERS

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MAGNOLIA CUP

“As my physical ability started to grow, so too did my mental resilience. The thought of The Brilliant Breakfast’s work spurred me on through every alarm call and painful muscle spasm”

accompanies this. On her recommendation I also made tweaks to my diet, including more protein and “good fats” such as avocados and flaxseed oil, to support my body through the heavy-duty exercises.

I also began riding out with the kind and understanding team at Michael Attwater’s Epsom-based yard, who would train me to ride their racehorses and ensure I adopted the proper form as I did so. At first my body went into shock – I could barely stand after each gym session or morning on the gallops. My inner critic also went into overdrive, and I experienced intense bouts of impostor syndrome and anxiety. I feared I’d bitten off far more than I could chew.

“Are you taking enough rest?” chided Stephenson after I called her in a panic one morning, having slumped in a breathless heap in the gym. My body, she gently reminded me, was not a machine, and needed to recover properly to build strength. I also needed to be more patient with myself – no small task for a perfectionist who works best under the pressure of a tight deadline.

Little by little, as my physical ability started to grow, so too did my mental resilience. I became, if not entirely comfortable, then certainly more open to being outside my comfort zone each time I stepped onto the workout mat or sprung into a tiny racing saddle for a ride. The thought of The Brilliant Breakfast’s important work also spurred me on through every pre-dawn alarm call and painful muscle spasm.

As you read this, I am midway through my preparations for race day and still awaiting the results of the dreaded jockey fitness test. Whatever the outcome, I will come away with an enormous appreciation both for the work of the people in this industry and for my body, which has proven more capable than I could ever have imagined. I have met some incredibly driven and passionate people, including my fellow Magnolia Cup riders, who I hope will also become dear friends. These past few months have been the ride of my life, and for that I am deeply grateful.

The Markel Magnolia Cup will take place on Ladies’ Day at the Qatar Goodwood Festival, July 26-30.

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Below, from top: Kim in Hyde Park, where she hacks several times a week; and buddying up with a racehorse simulator called Thor

Will the world always be this unpredictable?

Will my investments weather the storm?

How can I be sure?

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

Together we can find an answer.

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

calendar HIGHLIGHTS JUNE - SEPTEMBER June 23-26

FESTIVAL OF SPEED The planet's greatest motoring garden party welcomes drivers, cars and stars, with an increasing focus on the technology of tomorrow at Future Lab. July 15

COMEDY NIGHT AT THE KENNELS Laughter is on the menu with our new comedy evening on The Putting Green.

August 10

September 7

WHISPERING ANGEL… A NIGHT WITH CHÂTEAU D’ESCLANS AT THE KENNELS

SLEEP, WITH STEPHANIE MOORE

The evening will include a fourcourse meal on The Putting Green, accompanied by delicious wines.

September 16 August 20

VINTAGE MARKET AT THE KENNELS Our fabulous vintage market is back for another year to get you ready for Revival.

QATAR GOODWOOD FESTIVAL

SWING & JIVE PARTY AT THE KENNELS

Glorious Goodwood has been a highlight of the British horseracing season and summer social calendar since the 19th century.

Brush up on your steps as we turn down the lights and relive the good times.

August 6-7

Three enchanting days of racing commence with a bang at our annual Friday night fireworks spectacle, with a breathtaking musical display – the perfect start to a memorable weekend.

EROICA BRITANNIA A fabulous festival of cycling, with modern and classic bikes, and fun-filled activities for all members of the family.

REVIVAL GOLF Step back in time to play with hickory shafts, jiggers and mashie niblicks at the renowned Revival Golf Challenge.

September 16-18

August 20 July 26-30

Stephanie explains why sleep is the most important aspect of self-care and discusses ways to help achieve a regular good night’s rest.

GOODWOOD REVIVAL The world’s greatest historic motor race meeting – and the only sporting event of its kind to be staged entirely in period style.

August 26-28

AUGUST BANK HOLIDAY

Vintage Vegas-themed glamour is channelled at Goodwood Revival

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CALENDAR

July 26-30

Qatar Goodwood Festival Glorious Goodwood has been a highlight of the British horseracing season and summer social calendar since the 19th century. The world-famous fiveday festival offers spellbinding sport and a social occasion like no other, with unrivalled style, thrilling racing and hospitality to savour. This is the week when some of the greatest stars in racing are crowned. Featuring 13 valuable group races across the week, the action gets under way on day one, with the historic Goodwood Cup. Staying-superstar Stradivarius will aim to rewrite history with a fifth win in the race. On Wednesday, the best milers go head-to-head in the £1 million Qatar Sussex Stakes – a race that's been the making of many an epic Duel on the Downs. Off the track, the ever-popular Earl’s Lawn is the hub of race-day entertainment. Named fittingly after the Earl of Lonsdale – a frequent racegoer in the 1800s who was known for his love of partying – the Earl’s Lawn, with live music and delicious street food, is the perfect place to socialise. goodwood.com/horseracing/qatar-goodwood-festival.

Above: competitors for the Magnolia Cup, an annual race for charity on Ladies’ Day. Below: thoroughbreds at the race course, which commands sweeping views of the South Downs

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All the latest stories from across England’s greates sporting estate Follow @goodwood

CALENDAR

September 16–18

Goodwood Revival

Goodwood Revival is an immersive celebration of vintage lifestyle. Each year, as we re-create the glamour and excitement that suffused the glory days of motor racing at Goodwood from 1948 to 1966, we revisit a time when throwaway culture didn’t exist, people would make do and mend, and belongings were cherished and made to last. In 2022, the Revive and Thrive Village will embrace those strikingly relevant values, while leaving the more regressive views of the era consigned to the past, reflecting the diverse and inclusive spirit of the modern-day vintage world in a joyous celebration. Within this vibrant lifestyle hub, visitors will be able to adopt the skills of their forefathers to prolong the lives of their most prized possessions.

A community of experts and influencers will share tips on authentic circular consumption, from re-upholstering a chaise or repairing a vintage sweater to bringing an old bicycle back to life. Sewing workshops will be available to book in advance and a schedule of dynamic talks, led by US jazz musician and style activist Dandy Wellington, will celebrate the enduringly fabulous stories told by second-hand treasures and the people who love them.

Tickets are now limited, book at goodwood.com/revival.

From top: historic cars compete at the Motor Circuit. Jenson Button, a regular attendee. Make-do-andmend spirit at Revival

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finish Perhaps we’re going through a second Gin Craze now. There are 820 gin distilleries in the UK, according to the Office for National Statistics, up from 190 in 2015. Gin is officially the nation’s favourite spirit. It is also, perhaps, the one with the most creative potential – as long as it is made with a neutral grain spirit and juniper berries, distillers can add any botanicals they wish.

When it comes to artisanal gin, they are particularly adventurous, experimenting with ingredients including brussels sprouts, beef, asparagus and elephant dung. Some may be an acquired taste, but by and large that kind of freedom means there’s a gin for every occasion. Goodwood’s new Levin Down Gin – named after an ancient hill on the Estate, abundant with natural English juniper, where the Charlton Hunt used to start – is a more traditional offering, with wild gorse flower lending a tantalising hint of warm toasted coconut and vanilla to forward notes of zesty citrus and juniper. Served with a splash of vermouth and a couple of olives, it makes the perfect aperitif. The question is, shaken or stirred?

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LAP OF HONOUR

A leading model and muse of the Swinging Sixties, Pattie Boyd was married to George Harrison and Eric Clapton and inspired some of the greatest love songs of all time. Pattie is a fan of vintage cars, Bob Dylan and her dog, Freddie (Mercury). A passionate photographer, Pattie is a regular at both Revival and Glorious.

Words by Catherine Peel

Pattie Boyd

WHEN I WAS A MODEL, I wanted to be friends with Jean Shrimpton, but she was always slightly out of reach. In my eyes, she was just too glamorous and too beautiful.

Twiggy was adorable – so fresh, so fun and so fabulous with that gamine haircut. We met and quickly became friends.

THE SWINGING SIXTIES were just as fabulous as people imagine. We lived in an amazing era – young girls today don’t seem to have the freedom that we had. Now the world feels more closed, and everyone has to be so careful about what they say and to whom.

We were the complete opposite.

I’M GRATEFUL THAT I WAS THERE [in the 1960s] as we were striding forward and doing things differently from our parents. We broke the mould.

WHEN YOU ARE IN YOUR SEVENTIES, your figure just isn’t the same as it was when you were 20, so although I have kept a couple of clothes for sentimental reasons, I can no longer wear them. Fashion is a fantasy, and it comes and goes.

WHEN I WAS QUITE YOUNG, I saved up and bought myself a camera and asked everyone I worked with technical questions about photography. I was lucky enough to work with some of the best fashion photographers in the world. Photography at that time was changing dramatically – John French’s work was beautiful and classic, but then David Bailey and Brian Duffy had a totally different approach. I have a studio at home and still love taking photographs.

MANY OF MY PHOTOGRAPHS are from when I was with The Beatles and Eric (Clapton). I have a new book of photographs that are either by me or of me out this autumn. It is how I express myself.

FOR REVIVAL, I WOULD CHOOSE a 1960s outfit, with hipster wide trousers and a cool little jacket. In fact, I still backcomb my hair sometimes – it’s a great look. The 1940s really aren’t me – I’m 1960s through and through.

I HAVE BEEN INSPIRED BY so many people, but I have particular admiration for Bob Dylan, who is an amazing poet and so wise.

I could never exactly capture him, even though I met him, he’s elusive and quite magical.

IT’S SUCH A JOY to see the vintage cars in all their glory at Revival. The first car I owned was a bright orange Mini, which I adored.

I love old racing cars, particularly those by Frazer Nash and Aston Martin – the DB4 and DB5 are favourites. And I would love to drive a Bristol Car around the Goodwood track.

IF I COULD GIVE ADVICE to my 18-year-old self, it would be not to say yes and grab everything without thinking about it. I love spontaneity, but being impulsive is not always a good idea. A bit of space and time is sometimes what’s needed.

Pattie Boyd’s book My Life in Pictures is out this autumn (Reel Art Press)

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ILLUSTRATION BY ELIZABETH MOCH

EVERY YEAR I go to Glorious Goodwood for the horse racing, and Goodwoof is a great new idea. My husband and I are completely in love with our dog, an Irish terrier called Freddie (after Freddie Mercury, obviously), and I am definitely bringing him.